Das fsk Kino ist ein unabhängiges Filmkunstkino in Berlin Kreuzberg
Zitty:
Berlins Beste 2012: Anspruchvollstes Kino
Richtiges, pures Arthouse – für Mainstream-Mätzchen ist im Kreuzberger fsk am Oranienplatz kein Platz. Das Namenskürzel steht übrigens für Flugzeugsesselkino, die erste Bestuhlung stammte von ausgemusterten Lufthansa-Maschinen. Wer also echte Entdeckungen machen möchte, ist hier richtig, mit Filmen aus aller Welt, meist in der Originalfassung mit Untertiteln. Und die dürfen gerne mal elegisch oder sperrig sein, damit genug Raum für die Assoziationen des Zuschauers bleibt. (MS)
Die drei besten Berliner Kinos sind …?
Das FSK am Oranienplatz. Da gehe ich zu Fuß hin und schaue an, was gerade läuft. Das ist das Gegenteil von DVD. Ich treffe keine Kaufentscheidung, ich entdecke etwas. (…)
(Christian Petzold im Tagesspiegel Interview 2014)
Trojan is released from jail and goes straight back to his profession as a criminal. He gets hold of a weapon and looks out for new jobs. In just a few takes, Thomas Arslan sets up the anonymous world of his gangster protagonist by falling back on motifs and characters from the genre. The backroom of a car workshop, parking lots, furnished apartments. One meets men and women who distrust each other because they are all out to line their own pockets. The setting changes constantly, with surveillance and chase scenes providing a dynamic narrative rhythm. Since crime makes up Trojan’s daily existence, the film concentrates entirely on the technical nature of a life outside the law. The reduced and clear-cut images – shot with a Red camera – highlight the exact sequence of events. Im Schatten is a genre film that focuses consistently on the mechanics and external process of a crime. It develops a sense of great suspense, without burdening its figures with personal stories. Each hand movement has to be right. All of a sudden, the question of whether Trojan will manage to start the getaway car on time becomes a great movie moment.
Credits:
DE 2010, 85 Min., DF Regie: Thomas Arslan Kamera: Reinhold Vorschneider Schnitt: Bettina Blickwede mit Mišel Matičević, Karoline Eichhorn, Uwe Bohm, Rainer Bock, David Scheller, Peter Kurth
Kingdom of Bhutan, 2006. Modernization has finally arrived. Bhutan becomes the last country in the world to connect to the internet and television, and now the biggest change of all: democracy. To teach the people how to vote, the authorities organize a mock election, but the locals seem unconvinced. Traveling to rural Bhutan where religion is more popular than politics, the election supervisor discovers that a monk is planning a mysterious ceremony for the election day.
Credits:
The Monk and the Gun BT 2023, 107 Min., Dzongkha, Englisch OmU Regie: Pawo Choyning Dorji Kamera: Jigme Tenzing Schnitt: Hsiao-Yun Ku mit: Tandin Wangchuk, Deki Lhamo, Pema Zangmo Sherpa, Tandin Sonam, Harry Einhorn, Choeying Jatsho, Tandin Phubz, Yuphel Lhendup Selden, Kelsang Choejay
Lucy is a 32-year-old woman living in Los Angeles with her best friend Jane and working as a receptionist at a spa. She finds little satisfaction in her romantic life, including with her friend Ben, who becomes frustrated at her continued avoidance of his advances. Jane receives a work promotion that will require her to relocate to London, and goes out for drinks with Lucy and Jane’s boyfriend Danny to celebrate. After Jane confesses to kissing a female friend as a teenager, Lucy drunkenly tells her that she thinks she might be a lesbian. Jane encourages her to explore her feelings, suggesting that Lucy should pursue her flirtatious massage therapist co-worker Brittany.
Lucy invites Brittany to her house for dinner, but receives mixed signals as Brittany shares about her ex-boyfriend, but also declares her sexuality to be „on the spectrum” and kisses her before leaving. Jane brings Lucy to a lesbian bar, but Lucy is shy and soon leaves after seeing Jane kissing other women on the dance floor; the two fight and stop speaking. Lucy meets up with Brittany again. The two have sex, but Brittany quickly leaves the following morning and becomes distant, later reconciling with her ex-boyfriend. Meanwhile, Jane deals with the pressures of her upcoming move, including her self-absorbed co-worker Kat and Danny’s confession that he does not want to join Jane in London as she assumed he would.
Lucy quits her job to return to her passion of painting, and begins meeting other women on dating apps. She comes out to Ben, and the two reconcile as friends. After going on a „hammock retreat” with Kat, Jane makes up with Lucy, excitedly offering support for the changes in her life. Lucy offers to drive Jane to the airport as she heads to London, only to reveal that she will be joining her on the trip to help ease her transition.
Following In the Shadows, the film Scorched Earth is the second part of Thomas Arslan’s Trojan trilogy. Twelve years after career criminal Trojan was forced to flee Berlin, the search for contracts leads him back to the city. Trojan is broke and urgently needs a new job. But Berlin has changed and his old contacts are no longer of much use. Plus, Trojan’s maxim of only ever working for cash is hard to follow in an increasingly digitalised world. So it takes some time before the middlewoman Rebecca finally offers him the prospect of a lucrative contract: a painting by Caspar David Friedrich is to be stolen from a museum. The heist unites Trojan with getaway driver Diana, his former mate Luca and the young Chris. Everything looks promising, but the shadowy client and his henchman Victor have their own plans for the painting. Soon it becomes less about the money and more about getting out alive.
Credits:
DE 2024, 101 Min., dt. OmeU Regie: Thomas Arslan Kamera: Reinhold Vorschneider Schnitt: Reinaldo Pinto Almeida mit Mišel Matičević, Marie Leuenberger, Alexander Fehling, Tim Seyfi, Bilge Bingül, Marie-Lou Sellem, Katrin Röver, Anja Schneider, Tamer Yiğit
How a sea rescue can take place is beyond imagination. The real-time documentary “One Hundred Four” (German original title: “Einhundertvier“) brings this dramatic situation closer. The film shows how agonisingly long it takes to rescue 104 people from a sinking rubber dinghy. Person by person, step by step, the action is accompanied by several parallel cameras. The situation comes to a head when the Libyan coastguard appears. The rescued people and the crew wait for days on the high seas, as no Mediterranean country allows them to dock. Only after a terrible storm does the ship reach a European harbour.
Every year, the world’s most dangerous escape route claims thousands of lives. In the first half of 2023 alone, almost 2,000 people died in the Mediterranean because the European Union‘s border policy systematically violates existing rights. Instead of helping the shipwrecked, Frontex carries out illegal pushbacks, supports the violent actions of the Libyan coastguard and massively combats private sea rescue missions that intervene where the EU fails. Despite media evidence, it remains incomprehensible to those who have not experienced this situation themselves: why are hundreds of people in mortal danger being denied help and the civilian helpers even threatened and criminalised?
Jonathan Schörnig was affected by the dilemma of lack of awareness and decided to bring a sea rescue to the screen as a real-time documentary to show how agonisingly long it takes to rescue 104 people from a sinking rubber boat. The film accompanies the action person by person, step by step, with several parallel cameras.
The situation comes to a head when the Libyan coastguard turns up. The rescued people and the crew wait for days on the high seas, as no Mediterranean country allows them to dock. Only after a terrible storm does a harbour grant them entry. What sounds like a bad film script is actually the daily reality.
Credits:
DE 2023, 93 Min., engl., dt. OmU Regie & Schnitt: Jonathan Schörnig Kamera: Jonathan Schörnig, Johannes Filous
“Averroès” and “Rosa Parks” are two psychiatric units at the Esquirol Hospital in Paris. They belong to the same network as the “Adamant”, the floating day clinic on the river Seine at the heart of Nicolas Philibert’s film Sur l’Adamant, winner of the Golden Bear at the 2023 Berlinale. In Averroès & Rosa Parks, Philibert continues his exploration of this topic. From individual interviews to meetings between patients and carers, the filmmaker focuses on showing a form of psychiatry that continually strives to make room for and rehabilitate the patients’ words. Little by little, each one eases open the door to their world. But within an increasingly worn-out health system, how can the forsaken be given a place in society among the rest?
Credits:
FR 2024, 143 Min., franz. OmU Regie & Kamera: Nicolas Philibert Schnitt: Nicolas Philibert, Janusz Baranek mit: den Patient:innen und den Betreuer:innen der Averroès und Rosa Parks Krankenhauseinheiten im Esquirol Krankenhaus, Charenton-le-Pont, Paris.
The 70-year-old Mahin has been living alone in Tehran since her husband died and her daughter left for Europe. One afternoon, tea with friends leads her to break her solitary routine and revitalise her love life. But as Mahin opens herself up to a new romance, what begins as an unexpected encounter quickly evolves into an unpredictable, unforgettable evening.
Credits:
Keyke mahboobe man / My favourite cake IR/FR/SE/DE 2024, 97 Min., farsi OmU Regie: Maryam Moghaddam, Behtash Sanaeeha Kamera: Mohammad Haddadi Schnitt: Ata Mehrad, Behtash Sanaeeha, Ricardo Saraiva mit: Lily Farhadpour, Esmail Mehrabi,
“The longing for your homeland never goes away,” says the filmmaker Bahar Bektaş. Her brother is in prison in Germany. He is supposed to be deported and is waiting for the early transfer to Turkey he has requested. Because there seems to be no end to the waiting, Bahar turns her camera on her Alevi Kurdish family and examines the consequences of being uprooted. Ina Borrmann
Credits:
DE 2024, 100 Min., Deutsch, Türkisch mit deutschen Untertiteln Regie: Bahar Bektaş. Kamera: Antonia Kilian und Meret Madörin Schnitt: Arash Asadi
Trailer:
Exile never ends | offizieller deutscher Trailer
Lia, a retired teacher, has made a promise to find out what happened to her long-lost niece, Tekla. When Lia learns from a neighbour, Achi, that Tekla might have left their Georgian homeland and be living in Turkey, Lia and Achi set off together to find her. Arriving in Istanbul, they discover a beautiful city full of connections and possibilities. But searching for someone who never intended to be found is harder than they expected – until they meet Evrim, a lawyer fighting for trans rights. As Lia and Achi weave their way through the city’s backstreets, Tekla starts to feel closer than ever. Levan Akin’s fourth feature film is filled with an impressive emotional immediacy. Two initially hesitant strangers overcome not only ideological but also internal boundaries on their mission and join forces. The topography of the city plays just as important a role in this ode to humanity as the array of characters that live within it.
Credits:
SE/DK/FR/TR/GE 2023, 105 Min., georgisch, türkisch, engl. OmU Regie: Levan Akin Kamera: Lisabi Fridell Schnitt: Emma Lagrelius, Levan Akin mit: Mzia Arabuli, Lucas Kankava, Deniz Dumanlı
Naples, early 1980s: Aldo and Vanda’s marriage finds itself on the rocks when Aldo falls in love with the young Lidia. Thirty years later, Aldo and Vanda are still married. A thriller about emotions, a story of loyalty and infidelity, of rancor and shame. A betrayal, suffering, a secret box, a devastated home, a cat, the voice of the lovers and that of the estranged.
Credits:
Lacci IT 2020, 100 Min., ital. OmU Regie: Daniele Luchetti Kamera: Ivan Casalgrandi Schnitt: Aël Dallier Vega · Daniele Luchetti mit Alba Rohrwacher, Luigi Lo Cascio, Laura Morante, Silvio Orlando, Giovanna Mezzogiorno
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