A Syrian family leaves the violence of their country behind. Their goal is to get from Belarus to Poland and finally to the safe haven of Sweden. But while travelling through the Polish-Belarusian border region, they become a political plaything instrumentalised both by the Polish government and press for their own purposes. Polish master director Agnieszka Holland delivers a haunting and moving drama. Her complex political portrayal focuses on the interplay between officials, activists and civilians. An unsparing film that forces our society not to look away.
Credits:
PL, FR, CZ, BE 2023, 147 Min., polnisch, arabisch, englisch, französische OmU Regie: Agnieszka Holland Kamera: Tomek Naumiuk, Schnitt: Pavel Hrdlička mit: Jalal Altawil, Maja Ostaszewska, Behi Djanati Atai, Mohamad Al Rashi, Dalia Naous, Tomasz Włosok
Americans Hanna and Liv are best friends backpacking in Australia. After they run out of money, Liv, looking for an adventure, convinces Hanna to take a temporary live-in job behind the bar of a pub called ’The Royal Hotel’ in a remote Outback mining town. Bar owner Billy and a host of locals give the girls a riotous introduction to Down Under drinking culture but soon Hanna and Liv find themselves trapped in an unnerving situation that grows rapidly out of their control.
The Royal Hotel
Credits:
AU 2023, 91 Min., englische OmU Regie: Kitty Green Kamera: Michael Latham Schnitt: Kasra Rassoulzadegan mit Jessica Henwick, Julia Garner, Hugo Weaving, Bree Bain, Toby Wallace
A German documentary film project in north-eastern Turkey. Simone wants to learn more about Hatice, whose son was abducted a quarter of a century ago. Storytelling to prevent forgetting, rituals to contest disappearance. The lives of the Kurdish people – lives lived in a blind spot – are characterised by violence and resistance to an uncertain existence. Strange incidents soon overshadow the filming as well: turning up alongside interpreter Leyla and directly in front of the camera is the neighbour’s little daughter Melek, with her pretty purple dress and a mysterious gaze that goes right through you. What follows is a subtly framed, coldly brutal political thriller told in three chapters and from multiple perspectives. For it is not only the strategies of sinister organisations and the logic of paranoia that is the focus of this clever and complex cinematic conundrum, but the act of seeing itself – in all its dimensions, from observation to prophecy. The blind spot is in fact trauma, of the transgenerational kind. German-Kurdish director, screenwriter and producer Ayşe Polat stages it to perfection.
Credits:
DE 2023, 118 Min., Deutsch, Türkisch, Kurdisch, Englisch OmU Regie: Ayşe Polat Kamera: Patrick Orth Schnitt: Serhad Mutlu, Jörg Volkmar mit Katja Bürkle, Ahmet Varlı, Çağla Yurga, Aybi Era, Maximilian Hemmersdorfer, Nihan Okutucu, Tudan Ürper, Mutallip Müjdeci, Rıza Akın, Aziz Çapkurt
“Don’t ask me how I feel about something if you don’t want to hear it!” “I do want to hear it, but sometimes it’s just not true.” Actor Boris and writer Jonathan are a couple. But their relationship has reached a point where they might as well spend their evenings together separately: one lies in bed reading scripts, while the other works at a desk in the next room. Immersing himself deeper and deeper into rehearsals for a new film with an ambitious director, Boris begins to confuse real and fictional characters; meanwhile, Jonathan tries to redefine his voice as a writer. During these days spent struggling with emotional distance and closeness, trust, desire and fear of loss, Boris’s little niece Josie flits about like Shakespeare’s Puck, testing her boundaries. Knochen und Namen is actor Fabian Stumm’s directorial and screenplay feature-length debut. Unfolding in humorous and tender sequences that take place in demarcated, characteristic settings (bedroom, supermarket and rehearsal room), his film is an intelligent and entertaining reflection on relationships.
Credits:
DE 2023, 104 Min., dt., frz. OmU Regie: Fabian Stumm Kamera: Michael Bennett Schnitt: Kaspar Panizza mit Fabian Stumm, Knut Berger, Marie-Lou Sellem, Susie Meyer, Magnus Mariuson, Doreen Fietz, Alma Meyer-Prescott, Anneke Kim Sarnau, Godehard Giese
Between light and darkness stands Olfa, a Tunisian woman and the mother of four daughters. One day, her two older daughters disappear. To fill in their absence, the filmmaker Kaouther Ben Hania invites professional actresses and invents a unique cinema experience that will lift the veil on Olfa and her daughters’ life stories. An intimate journey of hope, rebellion, violence, transmission and sisterhood that will question the very foundations of our societies.
Since her debut at the age of 18, musician, civil rights campaigner and activist Joan Baez has been on stage for over 60 years. For the now 82-year-old, the personal has always been political, and her friendship with Martin Luther King and her pacifism have shaped her commitment. In this biography that opens with her farewell tour, Baez takes stock in an unsparing fashion and confronts sometimes painful memories. She not only shares her successes but also speaks openly about long-standing psychological problems and therapies, about family, drugs, ageing and questions of guilt and forgiveness. She makes it clear that, during her relationship with the very young Bob Dylan, she used her celebrity to launch his career. Her disappointment at her later estrangement from him becomes palpable. Thanks to a long-term friendship with one of the film’s directors, Karen O’Connor, Baez granted the directing trio access to the “inner demons” that have plagued her since youth. Their film interweaves diary entries and a wealth of partly previously unseen archive material with extensive conversations with Baez, as well as backstage moments from the tour. An intimate portrait that will not only be of interest to her fans.
Credits:
US 2023, 113 Min., engl. OmU Regie: Karen O’Connor, Miri Navasky, Maeve O’Boyle Kamera: Wolfgang Held, Ben McCoy, Tim Grucza Schnitt: Maeve O’Boyle mit Joan Baez, Mimi Farina, Bob Dylan, David Harris
Trailer:
JOANBAEZ I AMNOISE – Trailer OmdU German | Deutsch
Jessica and Farrah spend the summer with their mother on Corsica, where both sisters were born. The two adolescents go swimming, have parties and make their first sexual experiences. But the location also brings an old family trauma back to the surface – the three of them left the island 15 years ago under tragic circumstances. Director Catherine Corsini and her wonderful stars imbue the genre of the summer movie with an unusual depth – without forgetting about the holiday feeling.
Seven-year-old Joey lives in Brooklyn. When his mother goes to visit his sick grandmother, older brother Lennie is left to watch Joey. Babysitting ruins the 12-year-old’s plans for the day, so he enlists his friends to play a prank on Joey. They give him a (toy) gun to play with and when it goes off, Lennie plays dead. Thinking he’ll be arrested as a murderer, Joey takes off. With six dollars in his pocket, he heads for Coney Island, where he wanders the beach and goes on the rides … Using a 35mm camera strapped to his body, photographer Morris Engel documents the amusement park from the perspective of his young hero. As Joey rides the carousel, throws a baseball, eats cotton candy, and collects deposit bottles, the filmmakers use the opportunity to proffer up cinematic sketches of Americans at leisure – strolling, flirting, swimming, and sunbathing. As if captured with the wondering eyes of a seven-year-old, Little Fugitive casts an amused and anthropological eye over the people in the crowd in a masterpiece of black-and-white cinematography.
For the 2023 Retrospective, internationally renowned directors, actors, and screenwriters were asked to select their personal coming-of-age favourites.
I think Ruth Orkin’s own words and photographs provide an eloquent introduction to the wonderful film she made with Morris Engel and Raymond Abrashkin [aka Ray Ashley] back in 1953.
Wes Anderson on his selection: “Usually when people in Hollywood direct their first movie it’s because they’ve had experience in other parts of movie-making; scriptwriting, acting, cinematography, editing, assistant director or the theater. And when they sit in the director’s chair for the first time they have a whole experienced crew to back them up. We had only our inexperienced selves. We couldn’t have made the movies if we hadn’t been photographers first”.
Credits:
US 1953, 75 Min., engl. OmU Regie: Ray Ashley, Morris Engel, Ruth Orkin Kamera: Morris Engel Schnitt: Ruth Orkin, Lester Troob mit: Richard Brewster, Winnifred Cushing, Jay Williams, Will Lee, Charley Moss, Tommy DeCanio, Richie Andrusco
Wim Wenders’ first films were characterised by the theme of movement, and so it is no coincidence that the German filmmaker’s latest fiction feature is reminiscent of that luminous period in his filmography. The life of the mysterious man who cleans public toilets in Tokyo (played by Yakusho Koji) is defined by quotidian movement and observation. The prodigious secret of PERFECTDAYS lies in how it heightens our perception of all the transitional acts that determine his working routine; distraction is forbidden here. Everything indicates that cleaning toilets and urinals is an undesirable task, but in Japan this task appears like an appropriate procedure for a veritable science of cleanliness. And while it seems theoretically implausible that a man with such a job reads Faulkner at night, is a music lover and pays attention to the trees in order to photograph them with the sharpness of a professional, such qualities and passions can be seen as legitimate based on the other characters that appear in the film who duly reveal something of his past. Beauty and wonder are in equilibrium in all the sequences, and sublimely so when the dreams of this man who cleans bathrooms are depicted. (Roger Koza)
Credits:
JP 2023, 124 Min., japan. OmU Regie: Wim Wenders Kamera: Franz Lustig Schnitt: Toni Froschhammer mit: Koji Yakusho, Tokio Emoto, Arisa Nakano, Aoi Yamada, Yumi Aso, Sayuri Ishikawa, Tomokazu Miura as Tomoyama
The French couple Vincent and Olga settled in a small village in the interior of Galicia and lead a tranquil existence as farmers. Despite their friendliness, the local farmers treat the two strangers with suspicion and disdain. When Vincent and Olga refuse to agree to the building of a wind farm, the mood changes completely and the situation in the village escalates. In the beautiful setting of the Galician countryside, Oscar-nominated director Rodrigo Sorogoyen stages a high-tension thriller that is as original as it is gripping – a real blast!
Credits:
As Bestas ES/FR 2022, 137 Min., frz, span. OmU Regie: Rodrigo Sorogoyen Kamera: Alejandro de Pablo Schnitt: Alberto del Campo mit: Denis Menochet, Marina Foïs, Luis Zahera
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