The Making of Berlin Berlin - Yves Degryse

The making of Berlin – with live horn music – offers an unfiltered look at BERLIN's work process, but above all it also shows the story of one of the "discouraged" who did not stand up when fellow Jewish musicians and friends were expelled from the orchestra. The making of Berlin is the last part of the Holocene cycle, in which BERLIN made various city portraits over the past twenty years.

BERLIN helps Mohr to realize an unfulfilled dream. At the end of WWII, the conductor of the Philharmonic decided to perform Siegfried's Funeral March from Wagner's Götterdämmerung one more time. The performance will be broadcast live on German state radio. Rehearsing with the entire orchestra in one location quickly proves to be too dangerous due to persistent bombings. The conductor therefore divides the orchestra into seven segments and has them rehearse in separate bunkers. The faltering (recording) technology throws a spanner in the works. Mohr's ultimate wish is to carry out the technical tour de force seventy-five years after the date as initially planned. The Götterdämmerung will be played simultaneously from seven bunkers and can be heard in full on the radio. A feat for which BERLIN calls in the help of, among others, Chantal Pattyn and radio station Klara, the orchestra of Opera Ballet Vlaanderen and the German actor Martin Wuttke (known from Tarantino's Inglourious Basterds).

Theater and film maker Fien Leysen records the creation process for a behind the scenes documentary. Her images eventually end up in the performance. The viewer gradually discovers, together with BERLIN, that Mohr's story is full of inaccuracies and that he seems to want to correct the irreparable. How elastic is the truth in the search for a final agreement?