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"I know the voices in my head aren't real, but sometimes their ideas are absolutely awesome." -

The Joker


A Good German (WT)

Feature film in development. Writer and director, in cooperation with Schiwago Film, Berlin.

Cameroon, 1914: Rudolf Duala Manga Bell, king of the Duala tribe in Cameroon after his father and grandfather, speaks German, he reads Goethe, Schiller and Lessing, he wears elegant men's coats and knows the German legal system, because Cameroon was part of the “protected area” to the German Reich. In the spirit of Immanuel Kant, he dares to use his own understanding. The German colonial officials' favor toward his intelligence and eagerness turns to brutal violence when they discover that Manga Bell understands and applies their legal system better than they do. In order to assert their claim to power against his well-founded legal arguments, they finally murder him and his closest colleague Ngoso Din in a mock trial for "high treason" on the gallows. To this day there has been no official German statement on this judicial murder.

Manga Bell
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The film tells the true story of the Cameroonian resistance fighter and establishes a connection to present-day Germany, a country that has slowly started to deal with its past as a brutal colonial force in Africa.

The project was supported in December 2022 with treatment funding from the FFA (Film Funding Agency).

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|li|ke| Filme, feature film (Germany 2020, 83'), production, screenplay and direction.

Theatrical release on December 10th, 2020


|li|ke| Filme

Festivals and Awards

winner: LIGHTS Film Festival 2020

festivals: Max Ophüls Prize Film Festival, Heimat Europa Film Festival, Five Lakes Film Festival, Soundtrack Cologne (See the Sound Selection), LUSCA Phantastic Filmfest Puerto Rico, Braunschweig Film Festival, Sci-Fi London Film Festival


Süddeutsche zeitung, Susan Vahabzadeh, 12/15/2020

"Live has a great idea behind it, and perfect timing is a value in itself: Lisa Charlotte Friederich certainly has a flair for bringing the unimaginable together with the present."


Zeit online, Ines Schipperges, December 10, 2020

"The Live Live  rightly ran at eight film festivals and won the main prize at the Frankfurt Lights Film Festival. Not only because of its disturbing topicality - but also because of it. Because in its sensitive and precise description human behavior during a lockdown, Friederich proves as a screenwriter why films are at their best when they are closest to the truth in fiction. When the filmmaker grasps and understands the psychological component of her content through empathy alone."

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The world in a near future: The number of terrorist attacks has increased so drastically that encounters with other people and every form of cultural life only take place in virtual space. Public gatherings are prohibited for security reasons. There are no more concerts, no supermarkets, no theaters, no pubs.

Claire, a psychologist, looks after survivors of terrorist attacks. One day, when she finds an admission ticket, a scrap of analogue paper, on a patient's, she breaks out of her life of isolation. Driven by the need for community, she plans a secret live concert in front of real, physically present people with her brother Aurel, a star trumpeter who has only performed in front of virtual audiences for years. With the help of the hackers Ada and Maximus, against all odds, they succeed in realizing their plan. When the mother of the siblings shows up shortly afterwards, an age-old conflict erupts, which confronts Claire with an insurmountable opponent: herself.


Karoline Marie Reinke, Anton Spieker, Corbinian Deller, Sonja Dengler, Ulrike Knospe, Julian Greis, Sithembile Menck, Christine Chapman, Arthur Romanowski, Firas Zarka, Monika Dortschy, Tanja von Oertzen


musical theater


2019 "Castor&&Pollux"

Multimedia music theater piece: concept, libretto, direction.

Premiered on April 2, 2019

How can we love if we don't have to die anymore? »Castor&&Pollux« is a multimedia music theater about love and immortality. It follows the libretto and the staging by Lisa Charlotte Friederich and combines Rameau's music with the new composition by Lukas Rehm and his video works, which interweave monumental visual worlds with interview sequences on the future forecasts by Ray Kurzweil (head of development at Google). Together with the dramaturgy by Jim Igor Kallenberg, The Rossetti Players under the direction of Barbara Konrad and Eugène Michaelangeli and an international vocal ensemble, a multimedia firework display is created on the stage of the walk-in »4DSOUND« spatial sound system. A production des International music festival Heidelberg Spring.

Die Deutsche Bühne, Andreas Falentin, 03.04.2019

"...the minimalist stage action [...] impresses on the other hand through the concentration of the ensemble including unpretentious body play. As well as through a clear commitment to storytelling. Which applies both to the myth itself and to its continuation into the present day the performers, who are trained as singers, speak. What is surprisingly successful, especially in comparison with the usual "Magic Flute" repertoire performances at German municipal theaters. The French mezzo-soprano Natalie Peréz and the Finnish bass-baritone Jussi Juola, who also stand out musically, take with their purely linguistic presentation captured."

Frankfurter Allgemeine Zeitung, Jesper Klein, 06.04.2019

"But in this game with language, "Castor && Pollux" - meaning here, meaning there - has its strongest moments. It becomes particularly intense when the soprano Sarah Matousek, in a dialogue with herself and the machine, asks herself with whom she speaks here at all. It is one of the few really intimate moments in which fortunately the flood of images dries up. [...] Above this attempt hovers the essential question of whether we can imagine such a transhuman future in the style of the best science fiction, as they " Castor && Pollux "designs impressively, because it actually wants to. Even if those responsible don't dare to come out with an answer: artistically, however, the way they ask the question on the music theater stage is already an advantage."

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