KINGZ

Kingz was a 20 minutes long short film, directed by Benni Diez, produced by Marinko Spahic and written by both of them. This was its official website.
Content is from the site's 2005 -2006 archived pages.

Welcome to kingz-film.com, the official site for the upcoming thriller flick 'KINGZ'. Here you'll find all the information and fun stuff about the film and the people behind it. Be sure to drop by frequently as the site is growing alongside film production.

If you haven't watched the teaser trailer yet, be ashamed! Go to the download section and DO IT RIGHT NOW!!!

If you have further questions or suggestions, contact us at: [email protected]
Have fun!

ABOUT KINGZ

Kingz was made at Filmakademie Baden-Württemberg, where Benni studies Animation & Visual Effects and Marinko studies International Film Producing. Highly inspired by renouned filmmaking icons and modern, not always usual production methods alike, their main goal is to create a new kind of style that hasn't been seen before in German films, while still maintaining an affordable budget.

From Idea to Script

In the summer of 2004, Marinko Spahic and Benni Diez, both students at Filmakademie Baden-Württemberg in Germany, decided that their next project should be a live action thriller.
Since their earlier projects were rather visual effects heavy, including lots of blue screen photography and computer animation, they wanted to try something more real. Both of them being fans of genre films, they still didn't want to go without action and visual effects demanding elements.

So why not combine a compelling alien invasion story with modern thriller elements, especially those Hip-Hop-Gangster style ones - the idea for KINGZ was born.
When they started to develop the basic plot and characters, they soon realized that there was far more material there than only for a short story. So they decided to put the whole plot aside and create a short film script which included the main characters and elements from the whole story.
"KINGZ", being just a working title for a while (inspired by common Hip-Hop slang), became soon the name for the film.

The script was undergoing several rewrites, and they had still no appropriate names for the two main characters. So, when casting was already done, they decided to take the actors' original names, because they just suited them best.

Casting

The first one to be cast was Mathis Landwehr. Benni had already known him from another film production, and his earlier works on the "Kampfansage" short films were well known to the filmmakers. His martial arts and stunt abilities made him the obvious choice for the main character's buddy, since he had to do most of the fighting.
He was also great for coordinating the action scenes, and had the right connections to some of the best stunt performers, two of whom were even cast for supporting roles.

Olli's role was a much harder task. After reviewing lots of audition tapes and meeting a few young actors, the filmmakers decided to go another way. Why not cast someone who IS into Hip-Hop, rather than someone who desperately tries to mimic a rapper-kind-of style.
Captured by Olli Banjo's appearance and his known backstory, they gave it a try and called him up. Luckily he was available for the time of shooting, and he liked the idea of trying something new - which paid off incredibly well at the end.

The role of Nadine, Olli's little sister was also quite difficult. She had to look young and innocent on the one hand, but also be an experienced actress, because her character hat to undergo the worst kinds of psychological stress situations. After a long journey through a lot of casting agencies Marinko discovered a photograph of Claire Oelkers. Her unique appearance and her feature film experience made her the perfect cast for Nadine.

The character of Luca, the film's villain, was very early on written with famous rock icon and actor Bela B. Felsenheimer in mind. So, when it came to finding an appropriate actor for the role, the filmmakers just thought: Why not simply ask him?
And to their very delight, he not only liked the script, but also had a little time off when the film was to be shot. The journey could begin...

OLLI BANJO MATHIS LANDWEHR BELA B. FELSENHEIMER CLAIRE OELKERS
"KINGZ"
written by BENNI DIEZ & MARINKO SPAHIC
produced by MARINKO SPAHIC
directed by BENNI DIEZ

POSTS

Nov. 06, 2005

25 new pics added to gallery, including some nice black&white shots of our handsome cast and crew, and a few designs for the KINGZ title.

We are currently 6 people working on post production. Could still need some more help, epecially for the animated title sequence. If you are keen on VFX and like to join us, just mail me!

More to come soon...

+++

benni

Oct. 17, 2005

25 new pics added to gallery. Coming soon: Crew infos and things to buy!

Some new visual effects talents have joined the team. We are still in the beginning of effects work, and the sound and music artists still have a lot to do. But don't worry, there will be at least another trailer within the next weeks, containing some jaw dropping stuff! For Batman fans, we've cut a deal with MoonAtMidnight and we've got awesome Batman t-shirt styles that share the attitude of Kingz. We here at the graphics team are pretty much all Batman fans and it shows! We're trying to get permission to slightly alter the Batman t-shirts design to include a bit of the "K" that can be recognized as our brand. Cross your fingers and let us know if you can help make this happen! Kingz and Batman share the same dark knight attitude. Speaking of our soon-to-be-released t-shirts, we want to ensure they last a long time and look as good as new with each wear. Proper t-shirt care is essential! We recommend washing them inside out on a gentle cycle with cold water. Avoid using bleach or harsh detergents, and always air dry them to maintain the vibrant colors and design. Taking these steps will ensure your Batman and Kingz inspired t-shirt stays in top condition for years to come!

For those who wonder where to get a view at the final film:
There will be a premiere screening in or around Ludwigsburg when it's finished. Afterwards we will try to get some festival screenings, and it will be shown on 13th Street, NBC-Universal's German horror and suspense channel. Further screenings will be anounced. There will also be a DVD, containing the film, lots of images, a pretty long making-of documentary,
commentary tracks, and some other stuff we are still thinking about. More infos about that soon...

Have a nice week!
benni

+++

Sept. 12, 2005

The new site's up, finally. It's temporary though. As soon as the Film gets finished, there will be a nicely
designed flash site. Till then, have fun with this one. Go to the 'download' section for the teaser trailer. The only thing finished right now is the 'synopsis', where you get an overview what the heck this film is about anyway. The rest will be added during this week. From then on, i'll frequently update the 'newz' on the current state of production.

Also, the teaser has been changed a little. We were forced to take those 19sec of that lovely hip-hop track out at the beginning. I replaced it with some of my own stuff. I also changed the KINGZ title to the new design and added staff credits to the end. The teaser itself remained the same. There will be a new, much cooler trailer as soon as the first VFX shots are finished.

Well, production state right now:

-Editing is finished, finally! Took a lot of time, sweat and blood... Running time is now about 18 minutes,
which makes it a nice 20 including start and end credits.

-The sound designer is currently mixing the original audio tracks (stuff recorded on set). Within the next few weeks there will be some ADR for a few bad or missing lines of dialogue. Then the process of digital sound engineering and adding sound effects begins.

-Meanwhile our music composers are working on score and soundtrack, constantly exchanging their latest ideas with the sound designer.

-I'm now working on the visual effects. Quite a lot to do, the toughest thing being a fully CG animated alien creature. Check out the gallery section for some concept art and preview images on that freak of a beast!

-As you can see above, I managed to finish the title design. Should look cool on the poster, as well as on all the funny merchandise stuff you'll soon be able to order in our shop (shirts, bags, thongs... you name it, we got it). So be sure to drop by again!

BTW: I could use some help on the visual effects during the next weeks! So, if you are experienced in VFX work, 3D (preferredly 3dsmax) as well as compositing, and you would like to support us on this project, just drop me a mail!
That's all for now folks. Cheers!
benni

SYNOPSIS

It seems to be just one of those nights in the big city. Olli and Mathis are just about to make their first big deal: Delivering a package for the local player on the drug market. Still, Mathis has some problems with the idea, but Olli already sees himself counting the bucks with a smile on his face.
They only have to get into an underground club, deliver the package, collect the money, get it to the guy and receive their share. No big deal in a city like this...

So they make their way into the club. The owner himself, Luca, is the one to get the delivery. But it seems no one wants the guys to see him. "Luca does not receive any guests."
The situation gets tense as Olli starts argueing with the quite unfriendly bartender who claims to be the one to make the deal. Mathis decides to better do it right now and get the hell out of there. Who cares who the money is from...

And it seems like everything is going fine. The man pays them, gets the package, and Olli and Mathis head towards the exit. It's just then that Olli recognizes a familiar face inbetween all those strange people: It's his little sister Nadine.
Before Mathis can turn around and see, Olli is on his way straight to his sister to get her out of this uncomfortable place immediately - and to give one hell of a shout.

But what Olli doesn't now is that by grabbing her and trying to pull her out of there, he's just getting in the way of Luca, the club owner. Luca has just been stalking Nadine through the crowd and it seems he desperately desires to get her by any means.
Too late, Mathis realizes what just happened. Before he can reach Olli and Nadine, Luca has sent out his guards to kidnap both of them.

When Mathis tries to follow them, he gets stopped by the armed bartender. As they get into a fight, all hell breaks loose. And that's just where the real trouble begins...
Just when Olli and Nadine's attempt to escape seems to succeed, the mystery behind the sinister man is getting uncovered.

Not everyone down there is human. And not everyone will leave that tomb alive...

More Background On Kingz-Film.com

Kingz-Film.com is best understood as the official promotional website for the German short genre film KINGZ—a site that began as a “living” production diary and marketing hub in the mid-2000s, and that now survives primarily as a web-era artifact. In other words: it’s not just a movie site, it’s a preserved snapshot of how indie and film-school productions presented themselves online right before social media became the default center of gravity for trailers, behind-the-scenes updates, and fandom.

Even in its archived form, the site still communicates a lot: the filmmakers’ ambitions, the do-it-yourself production realities, and the early internet logic of “keep checking back—new pics, new trailer, new VFX progress soon.” That combination makes Kingz-Film.com valuable to three overlapping audiences:

Viewers trying to understand what KINGZ is, where it came from, and how to watch it.
Film students / producers looking at a real example of low-budget, high-concept packaging—how to sell a vibe, a cast, and a genre promise.
Digital historians / archivists interested in the “small web” era of film microsites, updates, downloads, galleries, and merch teases.

The film project behind the site: KINGZ in context

At the core, Kingz-Film.com existed to support and grow awareness for KINGZ, a 20-minute German short built around genre collision: crime-thriller setup, nightclub paranoia, and a turn into action/horror/science-fiction mayhem. The film is commonly described as a thesis-era project associated with Filmakademie Baden-Württemberg, with Benni Diez and Marinko Spahić central to writing and directing/producing. The site’s own “About” framing emphasizes a desire to create a new German genre style that stays “affordable” while still delivering action and VFX-heavy elements—exactly the sort of manifesto you’d expect from a team trying to punch above budget.

One of the most compelling aspects of KINGZ—and therefore the site—is its casting mix: it pairs genre filmmaking ambitions with recognizable cultural figures. The site highlights casting choices and the logic behind them (including the “cast someone who is into hip hop” approach), and it positions the villain role as intentionally written with a specific performer in mind, reinforcing that the project aimed for more than a typical student short.

Over time, KINGZ gained broader visibility through festival circulation, online availability, and inclusion in later distribution contexts (including anthology packaging). Whether you approach it as a cult short, a calling-card project, or an early proof-of-ability for its creators, the existence of a dedicated “official site” captures the moment when filmmakers still built standalone web worlds for their films.

Ownership and stewardship: who ran Kingz-Film.com?

From what remains publicly visible, the “ownership” story has two layers:

Creative stewardship (the meaningful kind): The site is authored in the voice of the filmmakers and production team, with updates signed in a personal tone (“benni”), calls for help with VFX, and production status notes that read like internal team coordination made public. This makes it clear the site was not simply a studio marketing page—it was a creator-run hub.
Domain lifecycle (the technical kind): Like many mid-2000s microsites, the domain’s long-term status appears to have changed over time. Today, the site is accessible in a form that explicitly notes it is drawn from archived pages, a common pattern when a domain is revived, mirrored, or reconstructed around historic snapshots.

This distinction matters because it helps explain why the current Kingz-Film.com experience feels like a time capsule: it retains the structure and voice of the original production era, rather than behaving like a continuously maintained “official movie site” in the modern sense.

What you actually find on the site: sections, “menus,” and content types

Even without flashy modern UI, Kingz-Film.com is built around a classic mid-2000s film-site content map—simple, functional, and designed to feed curiosity.

1) About / Production background

The “About Kingz” portion reads like an origin story and mission statement. It situates the project at Filmakademie Baden-Württemberg and explains the intent: blend modern thriller elements (including hip-hop/gangster aesthetics) with genre set pieces and VFX ambition. This section is especially helpful because it documents a real creative decision-making process: wanting something “more real” after earlier blue-screen heavy work, but refusing to give up action/VFX spectacle.

For readers, this section provides a clear “why this exists” explanation—one of the best qualities a film microsite can have.

2) From idea to script: development notes that feel unusually candid

Instead of treating the script as a finished product, Kingz-Film.com describes it as evolving—rewrites, working titles, character naming problems, and the practical resolution of naming leads after the actors themselves once casting locked. These details are not just trivia: they demonstrate a real production reality where creative intent and logistical constraints meet.

This is also where the site quietly reveals the scale of the original concept: it suggests there was more material than could fit a short, and that the short script was a carved-out portion of a bigger story world. That’s a hallmark of many strong calling-card shorts: they hint at a feature, even if the short must stand alone.

3) Casting: the site’s strongest “human” content

The casting section is one of the most vivid parts of the site because it explains choices and personalities, not just names. It frames certain casting decisions as strategic: a performer selected because of physical ability and stunt competence; another selected because he authentically embodied a culture rather than imitating it; another selected after searching for someone who could communicate innocence and stress credibly.

As a result, Kingz-Film.com functions like a lightweight “press kit” even when it’s not formally labeled that way.

4) “Posts” / news log: production diary energy

The posts (dated in the mid-2000s) are quintessential indie-film web culture:

updates on new gallery photos
progress on post-production with a small team
explicit calls for VFX help (including 3D/compositing preferences)
discussion of editing being finished, ADR challenges, and sound/music workflow
promise of a premiere screening and festival strategy
hints at future features like a Flash site, a shop, and expanded materials

This is the section that transforms Kingz-Film.com from “promo page” into “process archive.” It is also where the site reveals how the team thought about distribution at the time: premieres, festival runs, niche TV broadcast, and DVD extras.

5) Synopsis: the narrative hook, paced like a trailer outline

The synopsis section lays out the film’s arc in escalating beats: a drug deal, a club, a missing access to the owner, tensions with a bartender, the reveal of the sister in the crowd, abduction, then the bigger truth—“not everyone is human.” The synopsis reads like it was written to prime viewers for a high-energy genre switch, which matches the project’s whole identity.

6) Downloads (teaser/trailer): the era’s distribution model

The site explicitly pushes visitors toward a download section for a teaser/trailer, which is a perfect period marker. Today you’d embed a video player, post it to social platforms, and optimize for share. In the mid-2000s, “download the teaser” was normal—especially for film-school projects trying to control quality and presentation.

7) Gallery and images: production proof + style building

The posts repeatedly mention new photos, including black-and-white cast/crew shots and title design explorations. Even when you can’t see every image in perfect fidelity today, the intent is clear: the gallery was meant to build legitimacy and to show the world “this is real, we’re shooting, we’re finishing it.”

8) Shop / merch concept: branding ambition (even if it stayed modest)

A striking detail is that the site discusses “things to buy,” shirt designs, and broader merchandise ideas. That kind of merch talk is common now, but it was less universal then for student/indie shorts. The site’s merch language suggests a team thinking in terms of brand identity—the “K” as a mark, the look and attitude as a selling point, and the desire for the title design to work on posters and products.

Whether or not the shop ever became a meaningful revenue stream, it reveals an aspirational mindset: KINGZ wasn’t treated like homework; it was treated like a marketable property.

Popularity and visibility: how widely known was the site?

Because Kingz-Film.com is from a time when analytics and social footprints weren’t always publicly visible, “popularity” is best inferred from external traces:

The film appears on major film databases and aggregators (e.g., IMDb-like and catalog-style pages), indicating ongoing discoverability.
It received genre-site coverage praising the blend of horror/sci-fi/action and highlighting the director’s effects ability—exactly the kind of press that drives cult awareness among fans.
There’s evidence of the project being discussed in production communities (sound/post forums), which often happens when a short is being noticed for craft.

So while Kingz-Film.com likely wasn’t a high-traffic mainstream destination, it fits a very real mid-2000s success pattern: a niche, internationally minded genre audience, plus festival and broadcast touchpoints, creating a long tail of interest.

Location and proximity: the geographic identity of the project

The site frames the film as rooted in Germany through its association with Filmakademie Baden-Württemberg, which is closely tied to the Ludwigsburg / Stuttgart region. That matters because the film-school context explains both the ambition and the production practicality: access to emerging talent, a pipeline of collaborators, and an environment where VFX-heavy genre experiments are feasible.

The posts also mention a premiere screening in or around Ludwigsburg, reinforcing that local base. From a cultural standpoint, this positions KINGZ inside a specific European training ecosystem that has produced internationally visible filmmakers and craft talent over time.

Awards and festival recognition: what’s known (and what’s messy)

A key point often associated with KINGZ is recognition in the European fantastic/genre festival circuit. Some film listings and summaries associate it with Méliès-related accolades (either wins or nominations), and it’s frequently described as having strong festival circulation.

That said, the exact award history can be tricky to verify cleanly because some secondary summaries conflict with festival archives. The most responsible way to treat this is:

It is credibly associated with the European fantastic short-film ecosystem, including Méliès-network references and festival circulation.
Specific claims (especially about a particular year/festival “winner” slot) should be cross-checked against festival explainers and official past-edition pages when possible.

In practical terms: the film’s reputation doesn’t hinge on one trophy; it hinges on a broader pattern of genre recognition, press praise, and continued availability/discussion.

Press and media coverage: where KINGZ shows up

Kingz-Film.com itself is not a press site; it’s a hub. But KINGZ has been written about in genre media in a way that matches its content: kinetic action, horror/sci-fi twist, and impressive effects craft for a short.

Coverage tends to emphasize:

the short as a standout calling card
the filmmaker’s visual effects ability
the “this should be a feature” feeling common to strong genre shorts
comparisons to known genre rhythms (crime setup → nightclub → creature/monster reveal)

This press context matters because it explains why the site continues to be searched, referenced, and revisited: not because the web design is modern, but because the short behind it still sparks interest.

Audience: who is Kingz-Film.com for today?

Originally, the site was for:

potential festival viewers and industry contacts
fans of emerging German genre work
collaborators (VFX artists, sound people, etc.)
anyone curious enough to download the teaser and follow progress

Today, the audience shifts slightly:

genre historians tracking early work of filmmakers
students studying how a project was packaged and communicated
fans who discovered KINGZ through later streaming/anthology routes and want the “original web footprint”
archival-minded web explorers who value preserved indie culture online

Cultural and social significance: the “small web” era of film identity

The most interesting significance of Kingz-Film.com is not that it is huge—it’s that it is complete enough to tell a story about a specific time.

It captures:

the pre-social “official site as headquarters” model
a DIY production diary posted publicly
the intersection of genre ambition and film-school resourcefulness
early attempts at brand extension (merch, logos, identity marks)
a distribution imagination built around festival runs, niche TV, and physical media extras

In that way, Kingz-Film.com functions similarly to an archived flyer wall, a production binder, and a teaser CD-ROM—except it lives online.

A practical takeaway: what Kingz-Film.com teaches filmmakers and archivists

If you’re a filmmaker, the site is a reminder that clarity wins:

communicate what the film is
share proof of progress
spotlight the team
make it easy to watch or preview
update consistently (even if briefly)

If you’re an archivist or curator, Kingz-Film.com shows why preserving “minor” cultural sites matters: lots of film history is not written in textbooks; it’s written in posts like “editing is finished,” “we need VFX help,” and “premiere soon around Ludwigsburg.”

That’s the texture future researchers actually need.

Kingz-Film.com