Weydemann Bros. is expanding their international footprint and have appointed Thorsten Ritter, formerly at Beta Cinema, to establish and lead the company’s new Munich office.
As a producer, Ritter will focus on strengthening and growing Weydemann Bros.’ international production and co-production activities. The company has a 10-year history of delivering acclaimed films, with recent international titles including Chile’s Academy Awards entry “The Mysterious Gaze of the Flamingo” (2025), Nora Fingscheidt’s “The Outrun” (2024), and Cannes’ Critics’ Week winner “Tiger Stripes” (2023) by Amanda Nell Eu.
Ritter previously served as executive vice president at Beta Cinema (2012–2025), overseeing a slate of celebrated films such as “System Crasher,” “Amrum,” “From Hilde, With Love,” “The Happy Prince,” “Nowhere Special,” “Calibre” and “Woman at War.” He is co-founder of the Oldenburg International Film Festival and former head of Bavaria Film International, where he helped bring landmark titles including “Good Bye, Lenin!,” “Sophie Scholl,” “The Man Without a Past,” “Head-On” and “Let the Right One In” to global attention.
Jonas Weydemann said: “Thorsten Ritter and we have a long history together, not just since his successful international marketing of ‘System Crasher.’ His vast experience, creativity and commitment to film convinced us to bring him on board as a producer, especially to further develop our international production and co-production activities, with a focus on the U.K. and English-language films in general. At Weydemann Bros, it’s all about the team, and we are delighted to welcome Thorsten to join us.”
Ritter said: “Working with Jonas, Jakob, and the team at Weydemann Bros. is a dream come true. They are as passionate as they are sharp, always finding opportunity in every challenge. I’m excited to contribute my U.K. contacts and sales perspective, enabling us to discover inspired talents together and collaborate with established filmmakers across a wide range of projects – from films that dare to challenge us, move us, and shift the way we see the world to films that simply put a smile on our face. As long as they’re never trivial and paint-by-numbers – always made with conviction and a soul. Ideally, nothing less than the kind of films we never want to end.”