Sep 8, 2021

Venice: ‘System Crasher’ Producer Backs Climate Crisis Comedy ‘Our House Is Burning’

Berlin-based Weydemann Bros. is teaming with writer Alexander Dydyna ('Young Goethe in Love') and director David Sieveking ('David Wants to Fly') for the film about a family whose carbon footprint is challenged by their activist daughter.
Berlin-based Weydemann Bros. is teaming with writer Alexander Dydyna ('Young Goethe in Love') and director David Sieveking ('David Wants to Fly') for the film about a family whose carbon footprint is challenged by their activist daughter.

SCOTT ROXBOROUGH
Hollywood Reporter
SEPTEMBER 2, 2021

Weydemann Bros., the Berlin- based production house behind 2019 sleeper hit System Crasher and this year’s Locarno winner No One’s With the Calves, has teamed up with writer Alexander Dydyna (Young Goethe in Love) and director David Sieveking (David Wants to Fly) for its next project, a climate crisis comedy called Unser Zuhause Brennt (Our House Is Burning).

The plot imagines a comfortable suburban family whose lifestyle, and carbon footprint, are challenged by their daughter Zora, a Greta Thunberg-like climate activist. But her efforts to get everyone on board the mission to save the planet stirs up old conflicts and ends up triggering an anti-climate protection movement.

Dydyna’s writing credits include the 2018 hit What About Adolf?, a German adaptation of the 2012 French comedy What’s in a Name?, and the 2019 musical comedy I’ve Never Been to New York. Sieveking is best known for his documentaries, including Forget Me Not (2012), a portrait of his mother’s struggle with Alzheimer’s, and David Wants to Fly (2010), in which, inspired by tran- scendental meditation proselytizer David Lynch, he tracks down TM guru the Maharishi Mahesh Yogi.

Weydemann has several projects set to begin shooting next year, including the literary adaptation Milchzähne, based on the novel by Helene Bukowski; the 30-somethings love story Falling Into Places; and the toxic family drama Frisch.

This story first appeared in The Hollywood Reporter’s Sept. 2 daily issue at the Venice International Film Festival.

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