An orange-red glow reflects of the superheated buildings. The air of the surface ghetto stings from
the radiated heat of the air conditioning emitted by the upper class living underground. But more and
more energy is needed to cool the wealthy subterranean district.
The machines continue to rev up. The LIGHT OF EMBERS is spreading.
LOGLINE
On their escape from a torrid city, Noah, Motte and Samuel have to find shelter in an abandoned cabin in the forest. They are exhausted from their journey and their water supplies are almost depleted.
As the light of embers threatens to catch up with them, they are overcome with doubt: is it even possible to escape the danger?
As the light of embers threatens to catch up with them, they are overcome with doubt: is it even possible to escape the danger?
DIRECTOR'S STATEMENT
„I‘m going to exhaust myself completely for another five years, after that it won‘t matter anyway“
I‘ve often heard sentences like this in conversations with several activists from the Fridays for Future movement. One of my best friends was also active as a regional press spokesperson for FFF for several years.
I was always immensely proud of him and how committed he was to the fight for climate justice. But when I realised what this work was doing to him and how, as time went on, a person I cared so deeply about kept destroying himself, I realised that there is a small group of people among the population who knowingly and actively choose to ignore their own mental and physical health each and every day - hoping to make their small contribution by preventing a crisis before it is too late.
There is a part of me that also wants to fight. But also a part that would rather run away and forget. And a part that has already no willpower left and would rather give up. The three characters of the film stem from exactly these parts.
Their positions clash within a seemingly hopeless end-time scenario. The light of embers does not represent each individual facet of the climate crisis, but its existential threat as a whole. The film is not about condemning individual perspectives. It rather intendes to raise the question of how viewers would act in this situation and to help create an understanding that we all have to find our very own way of dealing with this crisis.
I was always immensely proud of him and how committed he was to the fight for climate justice. But when I realised what this work was doing to him and how, as time went on, a person I cared so deeply about kept destroying himself, I realised that there is a small group of people among the population who knowingly and actively choose to ignore their own mental and physical health each and every day - hoping to make their small contribution by preventing a crisis before it is too late.
There is a part of me that also wants to fight. But also a part that would rather run away and forget. And a part that has already no willpower left and would rather give up. The three characters of the film stem from exactly these parts.
Their positions clash within a seemingly hopeless end-time scenario. The light of embers does not represent each individual facet of the climate crisis, but its existential threat as a whole. The film is not about condemning individual perspectives. It rather intendes to raise the question of how viewers would act in this situation and to help create an understanding that we all have to find our very own way of dealing with this crisis.
I am convinced that this film offers me a way to make a contribution, and although I see it as my personal responsibility to include the existing nihilism in this context, I also want to give the end of the film a glimmer of hope. Because even if my and the younger generations in particular often feel powerless, we must not allow ourselves to be consumed by this feeling. Yet in the urge to do what feels right to us, we should not forget to look after each other and ourselves.
CAST & CREW
ROLE "MOTTE"
ROLE "NOAH"
ROLE "SAMUEL"
DIRECTOR
SCRIPT
PRODUCTION MANAGER
GREEN CONSULTANT
DIRECTOR OF PHOTOGRAPHY
SOUND RECORDIST
PRODUCTION DESIGN
COSTUME DESIGN
HAIR & MAKE-UP
GAFFER
EDITOR
SOUNDDESIGN
PRODUCTION COMPANIES
SUPPORTING PROFESSORS
MIA KAUFHOLD
ANSGAR SAUREN
LASSE CLAßEN
JOHANNES WEBER
JOHANNES WEBER, ADNAN ZECEVIC
SEBASTIAN BERGHAUS
LISA-LUNA PELLNY
SEBASTIAN BERGHAUS
FRANZ LEYER
LARA MORR
JUDIT FÜRHOFF
FREDERIKE WOLLMANN, MURIEL MARTINEZ
LEON MANITZ
JULIUS HAASCH
FRANZ LEYER
UNIVERSITY OF APPLIED SCIENCES AND ARTS DORTMUND
SEBASTIAN BERGHAUS & JOHANNES WEBER FILM PRODUCTION
PROF. OLIVER SCHWABE
MARCEL KNUTH
TECHNICAL INFORMATIONS
ORIGINAL TITLE
INTERNATIONAL TITLE
GENRE
THEME / MOTIF
COUNTRY / YEAR
RUNTIME
IMAGE FORMAT
SOUND FORMAT
SPOKEN LANGUAGE
SUBTITLES
GLUT
LIGHT OF EMBERS
DYSTOPIAN DRAMA
CLIMATE ANXIETY
GERMANY / 2025
21 MINUTEN
4K / COLOR / DIGITAL / 1.33:1
GERMAN
ENGLISH
LINKS
CONTACT
