A work in constant progress (and occasional regress).
Release Date:
November 4, 2023
Original Title:
Rosamunde Pilcher: Amys Wunschkind
Genres:
Drama | Romance | TV Movie
Production Companies:
FFP New Media
Production Countries:
Germany
Ratings / Certifications:
N/A
Runtime: 88
Sports photographer Amy Boyd's biological clock is ticking as she approaches the big 40. Nevertheless, her desire for a child is great, but she just can't get pregnant. She decides to go to a fertility clinic, but her partner Derek is not very enthusiastic about it. However, Amy is so desperate to have a child that she would go it alone. She is hoping for the support of her mother Libba, who also raised her alone. However, the death of her husband Jay almost 40 years ago still affects her, which is why she doesn't think much of Amy wanting to have a child from an unknown donor.
Assistant Costume Designer:
Anne-Marie Summer
Boom Operator:
Oliver Hemm
Casting Assistant:
Carla Kalscheuer
Tania Barbosa
Casting Director:
Phillis Dayanir
Commissioning Editor:
Verena von Heeremann
Andrea Klingenschmitt
Continuity:
Britta Butzmühlen
Costume Designer:
Bettina Weiß
Costumer:
Christina Isabell Molitor
Data Wrangler:
Jurij Tschabanow
Director:
Marc Prill
Director of Photography:
Holger Greiß
Morgan Lowndes
Editor:
Ilana Goldschmidt
First Assistant Camera:
Finn Kölln
First Assistant Director:
Garikoitz John
Gaffer:
Burhan Dag
Grip:
Mark Ebbage
Key Grip:
Manuel Schlegel
Makeup & Hair:
Anja Mohr
Stefanie Baumann
Original Music Composer:
Patrick Schmitz
Producer:
Elvira Bolz
Judith Smeaton
Michael Smeaton
Annette Pisacane
Producer's Assistant:
Julia Loosen
Production Accountant:
Carmen Looker
Production Coordinator:
Emily Tudbury
Production Design:
Katie Lee
Production Sound Mixer:
Uwe Schiefer
Second Assistant Camera:
Inga Jähngen
Short Story:
Rosamunde Pilcher
Sound Designer:
Jochen Fenzl
Sound Re-Recording Mixer:
Michael Gerlach
Unit Manager:
Stefan Knäpper
Anita Schenk
Writer:
Uschi Müller
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Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.