Prof. Jutta Pohlmann

Prof. Jutta Pohlmann
Director of Photography

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«.


2020 Nord, Nord, Mord – Sievers und der schönste Tag 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) 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) 2002 Was nützt die Liebe in Gedanken (Bester Film: Film Festival Verona, Bester Debütfilm – New Faces Award) 2001 Baader (in Zusammenarbeit mit Bella Halben / Alfred-Bauer-Preis) 2001 Die 12 Cellisten, The Berlin Philharmonics 2000 England! (Preis der deutschen Filmkritik) 1996 The Revolution in Hungary 1995 Hack, the fake Mantails 1995 Hajdu Kinga + Kosa Janos 1995 A Jorney to Budapest


Nomination for the Austrian ROMY, category best picture design TV, for »Höhenstrasse« (2017 ) Nomination for the German Camera Award for »Was nützt die Liebe in Gedanken«, category: feature film (2005) Nomination for the German Camera Award for »Die fremde Frau«, category: TV Film (2004) Camera Award of the German Film Critics for the feature film »England!« (2002) »VW -Autostadt« – Merit Award, film for the automobile fair (Director/Cinematographer: J. Pohlmann) (2002) Camera Award of the »Femme Fatale« Festival, Dortmund for the feature film »England!« (2001) The New York Festivals, Silver World Medal for »VW -Autostadt, IAA«, film for the automobile and tourism trade fair (Director/Cinematographer: J. Pohlmann) (2001) Student Camera Award of the Int. Festival der Filmschulen, Munich – Award of the »Film & TV-Kamera« magazine for »Halberstadt« (Short film, 1998) Camera Award, Hungarian Film Week, Budapest for »Murder, they said!« (short film, 1996) Camera Award, 48th International Filmfestival, Locarno for »Murder, they said!« (short film, 1995)


»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.«


Telefon 0221.920188-0