Foto Prof. Jutta Pohlmann

Prof. Jutta Pohlmann

Professor Director of Photography


DoP a. o. HÖHENSTRASSE (Nominierung ROMY - Beste Bildgestaltung TV), WAS NÜTZT DIE LIEBE IN GEDANKEN (Nominierung Dt. Kamerapreis), ENGLAND! (Kamerapreis der dt. Filmkritik)

+49 221 920188-0


After graduating from high school, Jutta Pohlmann gained her first experience at the Tisch School of Arts, New York University, where she completed the summer course »Beginning Film Production« in 1991. From 1991 to 1997 she studied camera and directing at the Academy of Drama and Film in Budapest, Hungary. As part of her studies she participated twice in the »Seminar for Director of Photography Students« – Masterclasses in Budapest, Hungary under Zsigmond Vilmos, Billy Williams and Dean Cundey.

Since 1995 Jutta Pohlmann has been working as a freelance camerawoman for cinema, television and documentary films for directors such as Alexander Adolph, David Schalko, Petra Lüschow, Achim von Borries, Katalin Gödrös and Detlev Buck. She has directed numerous commercials, music videos and art films for renowned artists. She has received several awards for her work.
Among other teaching activities, she was camera mentor for the feature film KATI KATI in Kenya, Africa in winter 2015, which was produced as part of Tom Tykwer’s »One Fine Day Film«.



2022  Die nettesten Menschen der Welt (AT)

2020  Schwartz & Schwartz – Wo der Tod wohnt 

2019  Jetzt erst Recht 

2018  Ausgezählt – Tatort

2017  Der grosse Rudolph 

nominiert als Bester Film beim Filmfest München, beim Fernsehpreis und beim Fünf Seen Filmfestival

2016  Petting statt Pershing 

2016  Höhenstrasse 

Bester Film: Fernsehkrimi Festival & Ehrenpreis der Wiener Umweltschutzabteilung / Green Producing, nominiert: Filmfestival Cologne, Prix Europa, Nominierung für die österreichische ROMY, Kategorie beste Bildgestaltung TV

2015  Taxi nach Leipzig – 1000. Tatort, Jubiläumsfolge

2014  Mein Sohn Helen 

2014  Der sanfte Tod 

2013  Morgengrauen – Polizeiruf 110

nominiert als Bester Film: Filmfest München, Fernsehkrimi Preis, Grimme Preis, Jupiter Award

2012  Einmal Hans mit scharfer Sosse 

2012 Der tiefe Schlaf –Tatort

nominiert für Adolf Grimme Preis & Fernsehkrimi Preis

2010  Am Abgrund 

2009  Der letzte Angestellte 

Bester Film: Mexico City Int. Horror Film Festival, Leeds International Film Festival, nominiert: International Fantasy Film Award

2008  So glücklich war ich noch nie 

nominiert für den Max Ophüls Preis

2006  Die Anruferin 

2006  Maroc en Vogue

2004  Eden 

2003  Die Fremde Frau

nominiert für Adolf Grimme Preis, Nominierung für den deutschen Kamerapreis

2002  Was nützt die Liebe in Gedanken

Bester Film: Film Festival Verona, Bester Debütfilm – New Faces Award, Nominierung für den deutschen Kamerapreis

2002  VW Autostadt

Merit Award Film für Automobilmesse, The New York Festivals, Silver World Medal

2001  Baader

in Zusammenarbeit mit Bella Halben / Alfred-Bauer-Preis

2001  Die 12 Cellisten, The Berlin Philharmonics 

2000  England! 

Preis der deutschen Filmkritik, Kamerapreis der deutschen Filmkritik, Kamerapreis des Femme Totale Festivals

1998  Halberstadt

Student Camera Award des Int. Festival der Filmschulen, München - Preis des Film & TV Kammermann Magazin

1996  The Revolution in Hungary 

1995  Hack, the fake Mantails 

1995  Hajdu Kinga + Kosa Janos 

1995  A Journey to Budapest

1995  Murder, they said!

Kamerapreis Hungarian Film Week Budapest, Kamerapreis 48th International Filmfestival Locarno

»My goal is to see and hear together with the students, to sharpen the senses in order to recognize the substantial inside of a material and to transform it into pictures.
Every image designer has two identities. On the one hand, the technical craftsmanship, on the other hand the artistic, creative identity.
I would like to support students in merging these two identities in order to develop visual concepts and implement them technically. Only in this way can we serve a story and become creative partners in the process of making a film.
The students should get to know the visual realization of a film as a creative process based on the division of labour, in which the image designers are involved at an early stage in considerations about the development of the story, to think in terms of content, and then to position themselves as a mediator between all the trades.«

Jutta Pohlmann

Professor Director of Photography