English Version

Januar 1, 2010

A huge, run-down apartment in Berlin Mitte. Two women and a man, rehearsals for a movie about love and sex, that will never be shot. Acting and reality mingle into a dangerous melange. Berlin is the shelter, love is impossible, flesh is the law.

Director Nina Bader wants to shoot a film about love and sex and invites her actor-friends Hans and Marie for screen tests for a couple of days. For Nina love is not necessarily a matter of emotion – she is rather looking for an authentic depiction of sex. The intimate collaboration turns into experiments with film, love and bodies and finally has an impact on the private relationships between the three of them. It seems that the boundaries between acting and reality begin to disappear.

A dilapidated, practically empty apartment in the Berlin district of ‘Mitte’. This is where Nina and two young actors named Hans and Marie have come together to leave behind the winter cold for a few days and do some screen tests for a film. Nina is a searcher; she wants her film to make feelings visible and intends to portray love by showing real sex. But the more blurred the borders between fiction and reality become, the less Nina seems inclined to make the film at all. Hans, who knows Nina from a brief encounter a long time ago, senses that she is searching for something else. Nonetheless, he and Marie both agree to go along with the play-acting. So far, each is convinced that they are pulling the strings. But Nina’s strategies of seduction weave an ever-tightening web around her protagonists. Nina’s credo that they should not play themselves or anyone else soon becomes a trap for Hans and Marie. No wonder that it becomes almost impossible to decipher where the acting ends and reality begins. The further Nina sets off down a path to an unknown destination, the more the actors shield themselves from each other and keep their feelings to themselves. Their longing for the outside world is a palpable force, but each attempt to open up to each other ends in an emotional blow below the belt. Without a script, communication becomes balancing act; coolness and distance would seem to be the only adequate means of protection. In this world, failure can only lead to a bittersweet happy ending.

Nina – Miriam Mayet
Marie – Lana Cooper
Hans – Matthias Faust
and Laura Tonke (Baader, Wintersleepers), Arno Frisch (Funny Games), Moritz Ross

Writer/Director – RP Kahl
DP – Fabian Knecht
Light – Michel Balaguè
Camera-Ass. – Bastian Seitz
Costumes – Gina Krauss
Set Design – Julia Laube
Make Up – Julia Hauer
1 AD – Viviana Kammel
1 AD – Angelo Wemmje
Editor – Stephanie Kloss
Sound Design – Matz Müller
Mix – Matthias Schwab

Sissimetall, Die Haut, Château Laut,
MyPark, Kim Peers, chicco, Brokof,
Hang Dong Music, B.O.I., Francis Bacon

Produced by
RP Kahl, Torsten Neumann (Independent Partners Film)
Christoph Thoke (Mogador Film)
Associate Producer – Angela Gläser (Group.IE)

World Sales
Jinga Films Ltd. (London/ UK)

Germany 2010. HDcam + 35mm. 75 + 79 Min. Color. Dolby E + 2.0

Berlinale – International Film Festival Berlin
(2010 – Closing Film „Perspective German Cinema“ – World Premiere)
Achtung Berlin Film Festival
(2010 – Competition „New Berlin Film Award“)
Moscow International Film Festival
(2010 – Opening Film Competition „Perspectives“ – International Premiere)
Ourense International Film Festival
(2010 – Section „In the limits of the permitted“ – Spanish premiere)
Raindance Film Festival
(2010 – Official Selection – UK premiere)
PornFilmFestival Berlin
(2010 – Feature Film Competition)
Clair-Obscur Filmfestival Basel
(2010 – Tribute RP Kahl – Swiss premiere)
Berlinale – International Film Festival Berlin
(2011 – German Films – Lola@Berlinale – Pre-Selection of German Film Prize)
Fantasporto – Festival Internacional de Cinema do Porto
(2011 – Official Selection – Portugal premiere)
Filmtage Frankfurt
(2011 – Competition)
Sydney Underground Film Festival
(2011 – Competition – Australian premiere)
Sexy Paris International Film Festival
(2011 – Official selection – French premiere)
PopPorn Festival Sao Paulo
(2012 – Official Selection – Brazil premiere)

Spain – Underground Pictures – tba
Australia – Accent Film Entertainment – 2014
France – Atypik Films – 2012
UK – Crabtree Films – 2011
Japan – Fine Films – 2012
Korea – Lumix Media – tba
Canada – Mongrel Media – 2011
Quebec – Métropole Films Distribution – 2011
Hongkong – Panorama Distributions – 2011
USA – Strand Releasing – 2011
German speaking territories
theatrical – Reverse Angle Pictures – 2010
DVD/ Blu ray – Koch Media – 2011

Personal Info RP Kahl
RP Kahl was born in 1970 and studied Acting at the Ernst Busch School of Dramatic Art in Berlin/Rostock. He then founded the production company Erdbeermundfilm and made his first short Ausgespielt (1995). In 1997, he produced and starred in the award winning Silvester Countdown (Munich, San Sebastian, Toronto, Karlovy Vary) directed by Oskar Roehler. Angel Express was in 1998 his feature debut as a director, he also produced the film together with Luggi Waldleitner and wrote the script. RP Kahl then produced (and directed episodes of) the project 99euro-films (2001, Berlinale, Opening Film Perspective German Cinema), followed by Europe – 99euro-films 2 (2003, Locarno), and the documentary Sunday Girls (Maedchen am Sonntag, 2005, Hessian Film Award for best Upcoming Director), part three of the 99euro-films series. In 2009/10 he produced, wrote and directed his second feature film Bedways.



Selected Reviews WORLDSALES

„Not To Be Overlooked: Rolf Peter Kahl’s impressive ’Bedways’… There’s a complicated relationship drama, a psychosexual thriller and a borderline X-rated adult feature at play. Somehow, all three mesh remarkably well in this German import that takes a similar approach to sex as ’9 Songs’ and ’Shortbus,’ Kahl improves upon his contemporaries by exploring very rich, very real emotions and the impact that those emotions, pain, rejection and jealousy, can have on the soul… ’Bedways’ takes off in unexpected, wildly erotic ways. There are several scenes that, hands down, decimate any previous attempt to portray real sex on film. One scene in particular featuring Mayet at a peepshow, pleasuring herself while Hans watches, is so undeniably intense, so unbelievably hot, that it makes Hollywood’s tepid take on erotic cinema, ie ’Basic Instinct’ or ’Body of Evidence,’ seem juvenile and silly… a brave film full of fearless performances by a group of actors who obviously trust the artistic vision of their director.“ (THE TAMPA TRIBUNE / TBO.COM, Oct. 6, 2011)

„’Bedways’ succeeds because the movie-within-a-movie format allows the director and his on-screen surrogate to address all of the issues it raises… Mayet gives a remarkably unihibited performance as the filmmaker and Matthias Faust and Lana Cooper draw us into the actors’ fears of revealing themselves so intimately on screen.” (CONNECTICUTPOST.COM, June 6, 2011)

„Provocative drama from Germany… a libertine whirlwind of flesh and desire.” (MTV.COM, June 2011)

„A well-crafted, ambitious film that’s well-deserving of your attention.” (FILMWERK.CO.UK, March 2011)

„Quirky, beautiful and superbly photographed, ‘Bedways’ is truly exciting and bold German filmmaking… director RP Karl has crafted a tense and physical drama that examines relationships, sex and the bohemian lifestyle… At times shocking and explicit, ‘Bedways’ always retains its sense of honesty while the palpable chemistry between the two leads helps to create what is an unforgettable viewing experience.“ (FEMALEFIRST.CO.UK, March 3, 2011)

„’Bedways’, an arthouse treatise on sex, love, eroticism and the creation of art by director Rolf Peter Kahl… ’Bedways’ proves to be a fascinating and quite sexy film… This fucking awesome artsy German flick tells the tale of a lady director exploring fuckmaking in her new film. This filthy flick features hordes of full nudity from luscious Lana Cooper and marvelous Miriam Mayet, real coochie-digging, real fucking and much more extremely graphic awesomeness!“ (TLAVIDEO.COM, June 2011)

„’Bedways’ is a film which will no doubt ignite frank discussion and debate amongst the art-house fraternity. Is it a moving and intimate examination of the way emotional love affects our sex lives… a cross between a Jim Jarmusch and a David Lynch film.“ (SUBBA-CULTA.COM, June 2011)

„All the three actors who play the main characters have done an excellent job.“ (THIRSTYRABBIT.NET, 4. April 2011)

„A fascinating movie to watch… much more sophisticated than one may suspect.”

„The film seems to be clearly influenced by the likes of Godard and the French New Wave and the Berlin of this film seems just as grey and run down as that seen thirty years earlier in ’Possession’… This is an interesting study of filmmaking, relationships and manipulation, one that will probably split audiences.”



„MIFF also seems to take great delight in presenting films that might be considered risqué even on the seen-it-all festival circuit. One such film – German director RP Kahl’s ‚Bedways‘ – both delighted and divided the audience at its debut screening at the festival.“ (INDIEWIRE, July 2, 2010)

„Authors rest responsibility for the three heroes playing their erotic ’funny games’ upon cinema with its voyeurism, where it is already hard to understand where simple ’looking’ ends and starts ’peeping’. This idea is arranged by Kahl with ultimatism (just as his protagonist Nina does in film) – with steel shine of digital image and aggressive soundtrack … There’s also an extremely ultimate final scene, where Nina stays alone with a potential viewer – it is notable that it is also a scene of a passionate masturbation. And well, maybe it’s not the most obvious way to speak to the audience, but we need to admit that it is extremely clear and straightforward.“ (MIFF DAILY 1/2010)



“Go, libido, go! Hardcore drama, hardcore images: ‘Bedways’, a production with one hundred percent independent financing, tells the story of a film shoot in which the dividing lines between acted and real sex are blurred in a dangerous way. A cinematic experiment on itself – and the most exciting film from Berlin for a long time. As a result, we got a film that tells us about watching and lust in a self-scourging, erotic and stirring way for which almost only French productions or those of the radical Italo-American filmmaker Abel Ferrara are known.“ (SPIEGEL ONLINE, June 3, 2010)

“Rolf Peter Kahl is one of the few truly independent German cinema narrators, there are not many like him who spot the erotic sparkling in everyday life. This Berlin studio-theatre play about a couple of actors who rehearse for a romantic film with real sex scenes, takes place at a crossroads that is hardly used. One road is that of Klaus Lemke, the other one that of Jacques Rivette.“ (FRANKFURTER RUNDSCHAU, June 2, 2010)

“If there existed something like an underground cinema in Germany today, that is subversive films which back in the old days were screened as ‘midnight movies’, then ‘Bedways’ would be one of them. Now and then close to a psycho thriller, director RP Kahl, who also works as actor, develops with superior ease the descent into a dark paradise of love and lust.“ (FRANKFURTER ALLGEMEINE ZEITUNG, June 5, 2010)

“In this respect ‘Bedways’ is not only one of the most consistent and thought-out German films about sex and the eroticism of the camera’s view. It is also a declaration of love to the manic outlaws and uncompromising filmic auteurs who for the past 40 years have been attacking European cinema from its sidelines, occasionally even revolutionizing it… Kahl risks everything too. His portrait of a female filmmaker who finally can only find the authenticity and understanding she is striving for in her own lust, leaves behind all paths of German cinema, the well-trodden as much as the newer ones, so that probably only a few will want to follow him for now. But that is the price one has to pay, if one demands non-conformist, provoking art.“ (FILM-ZEIT, June 2010)

“Thus ‘Bedways’ is not an example of German cinema tradition but is rather indebted to the European neighbours and basically committed to a radical auteur approach: It reminds one of Catherine Breillat’s ‘Sex is Comedy’ (2002) – the impossibility of performing true intimacy; or Abel Ferrara’s ‘Snake Eyes’ (1993), the fatal and suicidal mingling of private and professional passions; or even Andrzej Zulawski’s ‘Nachtblende’ (1975) about the longing for an impossible love in a world of art and artificiality. All these films circle around sex in front and behind the big screen, around the ambition of filmmakers to fathom the big mystery in sound and image.“ (SPLATTING IMAGE, NR. 81, 2010)

“There are no sweating bodies here. Maybe it is this contemplated, cool distance of the performance which prepares the ground for eroticism. At the same time the director also encourages genre expectations… This game of deception centring around sex, love, intimacy and materialism as dominating principle of pleasure is also a depiction of the state of a Berlin bohemia that does not intend to age. ‘I want so much – I’m so unreal’, sings Anne Retzlaff, singer of ‘Sissimetall’, in a song from the soundtrack. That is the essence of the city diagnosis in the darkroom of possibilities.“ (FILMDIENST, No. 10, 2010)

“Rolf Peter Kahl puts carnal desire and intellectual reflection into a tension that works out… (and) proves himself a border crosser, in which he is less interested in the taboo which is broken in this film-within-film drama but in the psychograph of those undergoing such a balancing act in front and behind the camera…. The film also becomes a symbol of a crisis-ridden city, in which anything seems possible but not much is feasible in the end.“ (PROGRAMMKINO.DE, May 2010)

“The new flesh… A female director works with two actors on an experimental erotic film until the shooting turns into an emotional and sexual power play. Ambitious and appropriate study of the relationship between body and gaze, camera and control under the special circumstances of the Berlin youth avant-garde that is sure of style. Chic but good… calculated aiming at affects, powerful cinema.“ (TIP BERLIN, May 26, 2010 )

“Really great erotic cinema.“ (SCHNITT, No. 2, 2010)

“RP Kahl’s low-budget film is an audacious project. A little studio-theatre play with experimental narrative and three actors who gradually expose body and soul. The aesthetics which develops between camera and actors is both unpretentious and beautiful.“ (KINO-ZEIT.DE, May 2010)

“According to legend there exists this Berlin feeling, this idea of a city with latently creative rivers, criss-crossed by passion and vision. If there exists a prototype protagonist in this creative Berlin, it could very well be the actor and director RP Kahl, who above all since his lead in Oskar Roehler’s ‘Sylvester Countdown’ (1997) is the embodiment of this idea with his restless presence. In his first feature film as director, ‘Angel Express’ (1999), he presented a kaleidoscope of restless souls, wandering through Berlin at night, accompanied by muffled techno beats. Whereas both films were already about sex and the longing for dazzling passion, Kahl’s latest film ‘Bedways’ goes one step further: In the tradition of the intransigent thinkers of the Nouvelle Vague he discusses the process of filmmaking itself, looking anew for authenticity, for signatures of sensuality and intimacy.“ (EPD FILM, June 2010)

“Love in front of the camera. Nouvelle Vague in Berlin-Mitte.“ (BADISCHE ZEITUNG, 4. Juni 2010)

“A sensually intelligent erotic film: ‘Bedways’… In this respect the new work of the dynamic Berlin filmmaker Rolf Peter Kahl is provocative as much as intelligent. Among his previous films are the up-to-date study of a city ‘Angel Express’ as well as the sensitive documentary ‘Mädchen am Sonntag’. Lately he was among the cast of ‘Berlin Calling’ and contributed to the project ‘99 Euro Films’ as fellow organizer… At the end Nina has to admit to her producer that, ‘the project has failed’- that doesn’t apply to ‘Bedways’ at all.“ (HAMBURGER ABENDBLATT, June 10, 2010)

“Zitty Top! A shrewd, controversial film by RP Kahl on the subject of desire… Kahl’s analytical studio-theatre play (reveals) more truth about love and lust than some of those heartstring-tugging epic films. A stylish apartment, darkroom flair of the Berghainian kind and a consistent soundtrack place this film right in the depths of Berlin.“ (ZITTY, June 2, 2010)

“RP Kahl… has made an intelligent film about the power of Eros that is by no means led by his head … Subdivided into seven chapters the director RP Kahl, who was born in Cottbus, tells the seven-day story of the creation of a film that is never going to be made in a very sensual way without drifting into voyeurism… It becomes clearer by the minute what Nina, played by Miriam Mayet in her first major film role as scheming and mysterious, is actually after. Nina directs here – even when the camera is not rolling.“ (HANNOVERSCHE ALLGEMEINE ZEITUNG, June 3, 2010)

“Successful sexperiment … RP Kahl (‘99eurofilms’, ‘Mädchen am Sonntag’), for many years now one of the country’s filmmakers being very eager to experiment, gets remarkably many things right in ‘Bedways’, delivers a consistent ambience, fresh faces, a really great soundtrack – and on top of that a story which is formally so clever that it opens up all possible varieties of self-reflection and over-the-top acting … Kahl cultivates with ‘Bedways’ a field that otherwise is only entered by Klaus Lemke around here, whose bouncy stories are preferably drifting into the genre or gangster film though. In Kahl’s case filmmaking is self-discovery… One should imagine ‘Bedways’ as an adventure film telling us what could happen, if three people observe one another without knowing what exactly they want to find out. And in the end they are amazed to watch the images they have produced of each other.“ (STUTTGARTER ZEITUNG, June 2, 2010)

“Experimental film… That ‘Bedways’ breaks a taboo – the depiction of real sex scenes in an Arthouse film – seems irrelevant, since the rather cool performance moves this film far away from the porn film. Resolutely.“ (TAGESSPIEGEL, June 3, 2010)

“…in which those 78 minutes feel like the hybrid mix of his passionate ‘Angel Express’ and ‘Mädchen am Sonntag’, the unconventional documentary project about four film- and theatre actresses.“ (SÄCHSISCHE ZEITUNG, June 3, 2010)

“…it is remarkable how consistent, aesthetic and indeed erotic his little low-budget film has finally turned out. Kahl ventured a lot and gained a lot. Among the reasons for this are, apart from the sensationally exciting soundtrack, above all a script which only looks simple at first sight but proves to be a rather ingenious and complex one on closer inspection… It is a magical moment of the feedback of the audience’s energy and easily the most interesting sex scene in a German feature film in recent years.” (FILMZENTRALE.DE, June 2010)

“Kahl opens in this triangle a filmic level going further by including in its reflections the process of filmmaking itself. Subdivided into several days and by various intertitles the fragments of the making of a movie mingle. It shows rehearsals, reflections, the unspoken, insecurities and sex situations, while absolutely creating a sense of intimacy.“ (FLUTER, June 2010)

“…the opinions differ in the case of ‘Bedways’ by RP Kahl… Basically this work seems to be a stubborn reaction to the usual viewing habits: It sharply contrasts the glossy aesthetic of common feature and made-fortelevision films.“ (SÜDKURIER, June 5, 2010)

“Erotic? Pornographic? Shocking? ‘Bedways’: a play about love and voyeurism… ‘Bedways’ is a film about many possibilities. The possibilities the audience have. They can like the film, be fascinated by it or irritated or distraught. They can disapprove of it, be disgusted or just annoyed by what they are confronted with during those 79 minutes. Confused about what ‘Bedways’ tells them or doesn’t tell them. All at the same time. Because ‘Bedways’ is a challenge.“ (POTSDAMER NEUESTE NACHRICHTEN, June 8, 2010)

“What’s the film like? Arthouse porn films are often a bluff: their crossing dividing lines is transporting naked facts into middle-class cinema auditoriums. Director RP Kahl (‘Angel Express’) wants more than to shock. His 76-minute-short ‘Bedways’ with an excellent soundtrack does not just depict porn scenes but analyses people in the porn situation. It sensitively tells us about disclosure, risk, courage and shame.“ (RHEINISCHE POST, June 3, 2010)

“The horny doings is flanked by strong atmospheric images of an almost fairytale-like Underground Berlin with its dilapidated old dosshouses, darkly romantic trendy joints and hypnotic music bands, above all the epigones of Velvet Underground ‘Sissimetall’, who are acknowledged with a long live act.“ (SCHWÄBISCHES TAGBLATT, June 2, 2010)

“Good, moving, accurate. ‘Bedways’ divides and will divide.“ (ABENDZEITUNG, June 9, 2010)

“It is hard to put a genre mark on Rolf Peter Kahl’s latest film. What exactly is ‘Bedways’ now – an essayistic film, erotic drama or blue movie? The hard facts: Not only once does ‘Bedways’ show an erect penis and real sex. But this does not summarize the essence of this filmic studio-theatre play which was shown at the closing screening of this year’s Berlinale section ‘Perspektive Deutsches Kino’.“ (MÄRKISCHE ALLGEMEINE ZEITUNG, June 9, 2010)

“A mixture of love, sex, jealousy and emotional blows. ‘Bedways’ by cult director RP Kahl is completely different from anything that has been released in German cinemas so far.“ (SUBWAY, June 2010)

“Admirably daring in its punk approach to his subject: the creation of identity via sexuality.“ (MÜNSTERLÄNDISCHE VOLKSZEITUNG, June 4, 2010)

“Rolf Peter Kahl’s project is a tightrope walk, telling an apparently simple story while being very demanding. The producer of the ‘99 Euro-Films’ gets out the interesting sides of artistic porn films such as ‘Intimacy’ and ‘9 Songs’… the daring subject of a modern and pensive drama.“ (PFORZHEIMER ZEITUNG, June 3, 2010)

“In powerful images, accompanied by an exciting soundtrack RP Kahl succeeds in capturing parts of today’s zeitgeist, which the Berlin Scene makes claims to embody. The performances of the actors is particularly remarkable, above all Miriam Mayet, whose tremendous presence on screen makes the film particularly intense.“ (BIOGRAPH, June 2010)

“The basic idea of his film is to create intimate situations. Thus his creative circle is completed, since his feature film debut ‘Angel Express’ already took place in well-known clubs, amid the Berlin Underground and its scene. This is also the setting of ‘Bedways’.” (FILMREPORTER.DE, June 2010 )

“In ‘Bedways’ the reality of the wintry Berlin mingles with the shooting of the film. Thus the film’s characters as well as the audience find themselves in an oddly fascinating interim world made of play and reality.“ (WIDESCREEN, June 2010)

“Bizarre love play: a film about love and true, explicitly performed sex.“ (BERLINER MORGENPOST, June 3, 2010)

“Down with those pants, the camera is rolling! Original film experiment.“ (BILD, June 3, 2010)

“Unfiltered and straightforward, with a harsh tone, real colours and a trendy soundtrack.“ (NÜRNBERGER NACHRICHTEN, June 12, 2010)

“Pillow talk: Sex in the Arthouse film – that could reduce its perception to a break of taboos. How much more complex ‘Bedways’ is actually composed and the care and attention which the director and actor RP Kahl displays towards his actors in this challenging film about the search for love is commented by him in a highly interesting interview.“ (CAST AKTIV, No.2, 2010)

“An invitation to the audience to share the intimacy of the depicted while keeping a distance… A studio-theatre play lives from actors and dialogues. In this respect Miriam Mayet, Lana Cooper and Matthias Faust master their parts with flying colours. The dialogues are also sticking out, acknowledging with their meaningfulness an acceptance of pornography within the discourse of an Arthouse film.“ (NEGATIV FILM, June 2010 )

“Bold, fascinating film project.“ Interview by Daniel Bickermann with RP Kahl on ‘Bedways’ (SCHNITT, June 2010)

“RP Kahl is the first German filmmaker to try his hand at a genre which has been repeatedly dynamite: the ‘Arthouse porn film’.“ (KREUZER, June 2010)

“With ‘Bedways’ RP Kahl… has succeeded in making an intelligent, although disturbing theory film about love, sex and the city as such.“ (FILMECHO, No. 20, 2010)

“It’s nice that cinema is still full of surprises. Like this one: a German sex film which does not just awkwardly romp about in its genre and crawls to the audience but rather demands something from them. In a positive sense… Dramatic, original, sometimes requiring getting used to; we are delighted about this successful experiment.“ (YORKER, May/June 2010)

“Berlin’s latest news: Highly erotic film prémiere at the Volksbühne“ (TV BERLIN, May 27, 2010)

“The Rainer Werner Fassbinder of German Porn!“ (SPLATTING IMAGE 83/ 2010)



“It get’s really exciting in German filmmaking, when the filmmakers blow up boundaries. Two very different films risk quite a lot considering the circumstances around here: … And then there is RP Kahl and his ‘Bedways’. The agile Berlin filmmaker transforms his story about a young female director and her film shoot into an essay on voyeurism and watching as such, while consistently crossing the line dividing this film from pornography.“ (ZITTY, April 13, 2010)

“Nouvelle Vague meets erotic Arthouse and results in a film-within-film about love and sex at the dividing line between play and reality – accompanied by an exceptionally great soundtrack.“ (YORKER, March/ April 2010)

“ ‘Bedways’ explores the dimensions of desire, realization and self-reflection… Kahl’s film is unwieldy, beautiful, cold and superbly photographed.“ (BERLINER-FILMFESTIVALS.DE, April 23, 2010)


Selected Reviews BERLINALE

„The steamy ‘Bedways’ has generated loud buzz at the Berlinale.“ (VARIETY, February 17, 2010)

„Lana Cooper and Matthias Faust excel with their fearlessness and warmth in a film project which must have been rather challenging… the amazing Miriam Mayet is completely convincing… for the audience, who can finally witness in German cinema how erotic true intimacy and passion in a sex scene can be.“ (DER SCHNITT, February 2010)

“(That’s when) the film has already swept you away with its hard, rocky sound, on a journey through the night, leading you close to the abyss, following the footsteps of Abel Ferrara and Klaus Lemke. If the ‘Perspektive Deutsches Kino’ is a promise, then ‘Bedways’ is the fulfilment: A film that promises nothing and fulfils everything. It is a solitaire in the programme of the ‘Berlinale-Perspektive’… subversive avantgarde .” (BERLINER MORGENPOST, February 14, 2010)

„Only Lars von Trier has been more explicit lately.“ (ZITTY, February 10, 2010)

“The images which ‘Bedways’ finds are exciting, never sterile nor embarrassing. At one point there are only Nina and Hans left in their respective video cubicles, watching each other on the monitor. Nina watches, touches herself, directs Hans. Minutes later she takes her mobile: ‘Get over here.’ And he does. That’s the beginning, the actual one.“ (TAGESSPIEGEL, February 11, 2010)

„The Berlinale has its first scandalous film. ‘Bedways’ by RP Kahl… Love – without taboos.“ (BILD, February 19, 2010)

“One film deserves special attention: ‚Bedways‘. A film that brings a third pillar of German cinema into position, between the mainstream and the ‚Berliner Schule‘ … close to genre. It reminds one of Oskar Roehler or Fatih Akin, the solitaires of German Cinema.“ (DEUTSCHLANDFUNK, February 16, 2010)

“The Muse Berlin: Just as his feature film debut ‘Angel Express’, ‘Bedways’ captures in an unconventional way the zeitgeist of a generation in the German metropolis… Independent, fresh and wild… In the future ‘Bedways’ will probably be mentioned in the same breath with films like ’9 Songs’ or ‘The Brown Bunny’.“ (WIDESCREEN, February 2010)

“The strong point of both films is the cast: Anna Brüggemann (‘Renn, wenn Du kannst’), Lana Cooper, Myriam Mayet (in ‘Bedways’) have not only their expressive and special faces in common, but also directors who appreciate them and offer them scenes of an intensity that is rare. … A story of the Creation, told in a strolling way and in chapters over a period of seven days. At the same time it is a reflection on sexuality and truth, which is just as brave as it is intelligent, ironic as much as inscrutable – a film in search of something, in which the fragments of a language of love mingle with cinema fragments; a transfigured night accompanied by the music of ‘Sissimetall’ and ‘MyPark’.” (ARTECHOCK.DE, February 15, 2010)

“Erotic Arthouse by RP Kahl. Furthermore the film is … a demonstration of the Berlin attitude to life that corresponds to the city’s popular image abroad as a hip underground metropolis.”(BLICKPUNKT FILM, No. 6, 2010)

“RP Kahl, whose ‘99 Euro Films’ was screened in the first year of the section ‘Perspektive’ in 2002, presents in ‘Bedways’ the intimate work of a female director and two actors on a movie project which becomes a test arrangement for voyeurism and desire, for the exchange value of sex and the prize of its depiction,… turning it into a commodity and back again.” (TIP-MAGAZIN, February 3, 2010)

“‘Bedways’, RP Kahl’s second film as director, was cheered at its premiere screening in the section ‘Perspektiven deutsches Kino’.“ (DIE WELT, February 17, 2010)

“A film about love, about proximity – and about sex. This brave film fathoms out the way in which intimacy can be created in front of a camera by showing us a lot without ever being obvious nor embarrassing.” (TICKET, February 11, 2010)