Author Archives: fsk

Was sehen wir, wenn wir zum Himmel schauen?

A film by Alexandre Koberidze.

[Credits] [Termine] [Trailer]

A chan­ce encoun­ter at the gates of a school in Kutaisi in Georgia. Lisa and Giorgi bump into each other and a book falls to the ground. Clearly dazed, they arran­ge a date without even having told each other their names. It is love at first sight and, as if enchan­ted, things begin to come to life: the sur­veil­lan­ce came­ra beco­mes an evil eye, the drain­pipe an ora­cle, they clo­se their eyes and – ding! The lovers are cur­sed, con­dem­ned to wake up the next day loo­king com­ple­te­ly dif­fe­rent. But it is pre­cise­ly this super­na­tu­ral obsta­cle to them mee­ting again which beco­mes their ticket to a world ruled ent­i­re­ly by the magic of the ever­y­day – in all its simp­le beau­ty, ten­der come­dy and an enthu­si­asm for foot­ball that infects young and old ali­ke, even the phleg­ma­tic street dog Vardy.
As in Let the Summer Never Come Again, it is the poe­try of aim­less­ness that enab­les Alexandre Koberidze to make visi­ble and nar­ra­t­a­ble in cine­ma ever­ything that we rare­ly per­cei­ve in the rea­li­ty of our ever­y­day lives. Get your ligh­ters out becau­se, as Gianna Nannini is allo­wed to sing so fer­vent­ly in this gem of a film, the nights are inde­ed magical.

Credits:

Ras vkhe­davt, rode­sac cas vuku­rebt?
DE/GE 2021, 150 Minuten, geor­gisch mit dt. Untertiteln,
Regie: Alexandre Koberidze
Kamera: Faraz Fesharaki
Schnitt: Alexandre Koberidze
mit: Ani Karseladze, Giorgi Bochorishvili, Oliko Barbakadze, Giorgi Ambroladze, Vakhtang Panchulidze, Sofio Tchanishvili, Irina Chelidze, David Koberidze, Sofio Sharashidze

Trailer:

Ausschnitt
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Herr Bachmann und seine Klasse

A film by Maria Speth.

[Credits] [Termine] [Trailer]

Where does one feel at home? In Stadtallendorf, a German city with a com­plex histo­ry of both exclu­ding and inte­gra­ting for­eig­ners, geni­al tea­cher Dieter Bachmann offers his pupils the key to at least fee­ling as if they are at home. Aged bet­ween twel­ve and four­te­en, the­se pupils come from twel­ve dif­fe­rent nati­ons; some have not qui­te mas­te­red the German lan­guage. On the brink of reti­re­ment, Bachmann is eager to inspi­re the­se citi­zens-in-the-making with a sen­se of curio­si­ty for a wide ran­ge of crafts, sub­jects, cul­tures and opi­ni­ons. Watching this absor­bing, sen­si­ti­ve docu­men­ta­ry, one is over­whel­med with the rea­li­sa­ti­on that, if only all child­ren were bles­sed with such emo­tio­nal­ly intel­li­gent, ever-pati­ent edu­ca­tors, con­flict would be miti­ga­ted via dis­cus­sion and John Lennon’s “Imagine” could be our rea­li­ty. Those who, like filmma­ker Maria Speth and her cine­ma­to­gra­pher Reinhold Vorschneider, are able to reco­gni­se and high­light so beau­ti­ful­ly not only the impor­t­ance of edu­ca­ti­on but also what a quiet­ly spec­ta­cu­lar pro­cess it can be, are heroes in their own right, too.

.

Credits:

DE 2021, 217 Minuten, deut­sche Fassung,
Regie: Maria Speth
Buch: Maria Speth, Reinhold Vorschneider
Kamera: Reinhold Vorschneider
Schnitt: Maria Spethm
mit: Dieter Bachmann, Aynur Bal, Önder Cavdar und den Schüler*innen der Klassen 6 b und 6 f

Trailer:

 

Excerpt
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Eine Geschichte von drei Schwestern

A film by Emin Alper.

Here on „Video on demand”:

[Credits] [Termine] [Trailer]

The three sis­ters Reyhan (20), Nurhan (16) and Havva (13) all live with their father in a remo­te vil­la­ge in cen­tral Anatolia. One after the other they were sent away to town to work as house­maids, but each of them has now retur­ned. The last of the sis­ters to do so is Nurhan. She beat the local doctor’s son becau­se he wet his bed every night. When Reyhan retur­ned home pregnant, her father has­ti­ly mar­ried her off to the she­pherd, Veysel. One day, the ine­bria­ted Veysel rises up against the vil­la­ge elder; his actions have dra­ma­tic con­se­quen­ces. Even if the dream of a bet­ter future does not come true for any of the­se young women and they always seem to be get­ting into argu­ments with each other, they none­theless stead­fast­ly stick tog­e­ther. While they wait for the snow-cove­r­ed roads to beco­me pas­sa­ble again, father and daugh­ters pass the time with stories.
Emin Alper, who grew up in the Anatolian moun­tains hims­elf, unfolds his fai­ry tale in haun­ting images. He por­trays a socie­ty in which neit­her women nor men have a chan­ce to break their pre­de­ter­mi­ned cycle, and yet he still lea­ves room for hope

 

 
Credits:

Kız Kardeşler
Türkei/Deutschland/Niederlande/Griechenland 2019, 108 Min., tür­ki­sche OmU-Fassung
Buch und Regie: Emin Alper
Kamera: Emre Erkmen
Schnitt: Çiçek Kahraman
mit Cemre Ebüzziya, Ece Yüksel, Helin Kandemir, Kayhan Açıkgöz, Müfit Kayacan, Kubilay Tunçer

Termine:

  • keine 

 
Trailer:

 

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Supernova

Sorry, this ent­ry is only avail­ab­le in German.

Nur am 24.1 (ab 20:00) – 25.1. im „fsk für Zuhause”: https://vimeo.com/ondemand/supernova2 (bei Vimeo steht statt 20:00 die „Eastern Time” 14:00 ET)

PL 2019, R/B: Bartosz Kruhlik, 78 min, OmU
K: Michał Dymek, S: Magdalena Chowańska, M: Endy Iden,
D: Marek Braun, Marcin Hycnar, Marcin Zarzeczny, Agnieszka Skibicka u.a.

Eine son­nen­über­flu­te­te som­mer­li­che Dorfstraße. Nichts pas­siert, die Luft flirrt, eine Kuh schiebt sich behä­big durch das Bild. Kein guter Ort für gro­ßes Kino? Oh doch, denn in nur weni­gen Minuten ent­wi­ckelt sich hier aus einem Familienkrach und einem Verkehrsunfall eine Tragödie anti­ker Dimensionen, die in rasen­der Unumkehrbarkeit immer mehr Beteiligte in ihren Strudel zieht. In der Zeitung wären die­se Ereignisse maxi­mal eine Randnotiz wert, aber aus der schmerz­haf­ten Nähe der uner­müd­li­chen Kamera sind sie unend­lich tra­gisch, weil schmerz­haft menschlich.

Dem Überraschungs-Debütanten Kruhlik gelingt es, auf kleins­tem Raum, mit spar­sa­mer Ausstattung (Handkamera, Verzicht auf Musik und künst­li­ches Licht) und einem klei­nen, aus unver­brauch­ten Gesichtern bestehen­den Ensemble nahe­zu in Echtzeit ein Drama zu ent­wi­ckeln, das den Zuschauer förm­lich ein­saugt. Darüber hin­aus ver­mit­telt die Handlung in ihrer Alltäglichkeit eine Metaebene: Eine Supernova ist ein hell explo­die­ren­der Stern kurz vor sei­nem Untergang, eine ster­ben­de Welt – und gleich­zei­tig der Beginn von etwas Neuem.

Bartosz Kruhlik (geb. 1985) stu­dier­te Regie in Łódź und dreh­te ein Dutzend Kurz- und Dokumentarfilme, mit denen er diver­se Preise gewann. „Supernova“ ist sein Langspiel-Debüt.

Das neue Evangelikum (Stream)

Sorry, this ent­ry is only avail­ab­le in German.

»Milo Rau gehört zu jenen Künstlern, die immer wie­der dahin gehen, wo’s weh­tut. Seine Bühnen- und Film-Essays bear­bei­ten oft, zugleich direkt und reflek­tiert, die Zuschauer*innen stets invol­vie­rend, die Bruchstellen unse­rer Zivilisationslegende: das Verbrechen, den Terror, das Unrecht. Man kann über bei­na­he jedes sei­ner Projekte und über jede Wahl sei­ner Mittel strei­ten. Etwas Besseres kann man von Kunst zur­zeit kaum sagen.« Georg Seeßlen, epd-Film

Milo Rau insze­niert in der süd­ita­lie­ni­schen Stadt Matera, in der sowohl Pier Paolo Pasolini als auch Mel Gibson ihre legen­dä­ren Filme über das Leben Jesus’ gedreht haben, DAS NEUE EVANGELIUM. Gemeinsam mit dem Politaktivisten Yvan Sagnet schafft er einen hoch­po­li­ti­schen Jesus-Film, in dem bibli­sche Erzählung und ver­zwei­fel­te Revolte inein­an­der­flie­ßen. Entstanden ist ein hybri­der Film: eine Verschmelzung von Dokumentarfilm, Spielfilm, poli­ti­scher Aktionskunst und Passionsspiel. DAS NEUE EVANGELIUM ist ein Manifest für die Opfer des west­li­chen Kapitalismus, das ange­sichts der euro­päi­schen Flüchtlingskrise und der welt­wei­ten Black-Lives-Matter-Bewegung aktu­el­ler nicht sein könn­te. Ein authen­tisch poli­ti­sches wie auch thea­tra­li­sches und fil­mi­sches neu­es Evangelium für das 21. Jahrhundert.

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»Nichts an »Das Neue Evangelium« ist kom­pli­ziert, abs­trakt oder didak­tisch, nichts könn­te als Provokation oder Effekthascherei des­avou­iert wer­den. … »Das Neue Evangelium« ist Milo Raus zugäng­lichs­te, zärt­lichs­te und opti­mis­tischs­te Arbeit bis­lang gewor­den.« schreibt der her­vor­ra­gen­de Georg Seeßlen auch noch.

Am 17. Dezember hät­te der Film, der bei den Filmfestspielen in Venedig für Aufmerksamkeit sorg­te, auf den gro­ßen Leinwänden star­ten soll. Stattdessen wird die­ser eine exklu­si­ve digi­ta­le Kinoauswertung ab eben die­sem Datum genie­ßen, bei der die teil­neh­men­den Kinos kon­kret und unmit­tel­bar an den Umsätzen betei­ligt sein werden.

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Wie funk­tio­niert das DIGITALE KINO?
Unter www.dasneueevangelium.de wählt man beim Kauf sei­nes Online-Kinoticket aus, wel­ches Kino man betei­li­gen möch­te. Der Film ist nach Bezahlung 24 Stunden stream­bar. Zusätzlich ist ein Gespräch mit Regisseur Milo
Rau und Hauptdarsteller & Politaktivist Yvan Sagnet als Bonusmaterial abrufbar.
Der Vorverkauf star­tet am 1.12., der Film ist ab dem 17.12. abrufbar.
Ein Einzelticket für 24 Stunden kos­tet 9,99€.

Weitere Informationen im bei­lie­gen­den Flyer und bei https://dasneueevangelium.de

The Two Sights

A film by Joshua Bonnetta. Soon at the fsk.

[Credits] [Termine] [Trailer]

The clo­sing tit­les say The Two Sights was “collec­ted” on various islands of the Outer Hebrides from 2017–19, but what does the film gather? There are the images, cap­tu­red on 16mm, which sur­vey all this ravis­hing land­s­cape con­tains, taking in its rocky cliffs, beaches and plains, aligh­t­ing on its flo­ra and fau­na and the houses and ships sprinkled over it, picking out cur­r­ents, reflec­tions and shifts in light. Then the­re are the sounds, recor­ded with the mic visi­ble in the first shots, kee­ning birds, the roa­ring wind, the cra­shing, gurg­ling, trick­ling of the water. In voice­over, a who­le antho­lo­gy of tales can be heard, nar­ra­ted in both English and Gaelic, sto­ries of dog ske­le­tons, drow­ned vil­la­ges, and fami­ly mem­bers pas­sing away, alt­hough songs, silence and the ship­ping fore­cast are just as at home the­re. But like any gre­at collec­tion, it’s not about the indi­vi­du­al ele­ments, but how they over­lap, about how the crow han­ging on bar­bed wire con­ju­res up ano­t­her sto­ry never told, about how the ripp­les seem to rever­be­ra­te along with the woman’s har­mo­nies, about how each anec­do­te floats over the rus­hing air. Sight by eye, sight by ear, two sights that ripp­le and flow together.

 
Credits:

CA, UK 2020, 90 Min., gälisch, eng­li­sche OmU
Regie, Buch, Kamera, Ton, Schnitt, Musik, Sound Design: Joshua Bonnetta

Termine:

  • noch keine 

 
Trailer:

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Bis an die Grenze – Police

A film by Anne Fontaine. Soon at the fsk. In French with German subtitles.

[Credits] [Termine] [Trailer]

Virginie, Erik and Aristide are poli­ce offi­cers. All three try to keep their per­so­nal and emo­tio­nal lives tog­e­ther while dealing with dai­ly inci­dents of vio­lence in homes and on the streets. One night, they are assi­gned an unusu­al mis­si­on: to dri­ve a migrant to the air­port for unspe­ci­fied rea­sons. On the way the­re, Virginie dis­co­vers that the man will be sen­ten­ced to death if he goes back to his coun­try. Faced with an unbe­ara­ble dilem­ma, she starts to ques­ti­on their mis­si­on. The trio has one night to deci­de a man’s fate. Prolific French filmma­ker Anne Fontaine tack­les this dra­ma­tic and rele­vant topic with all the inten­si­ty and empa­thy it requi­res. Her stel­lar French actors are as com­mit­ted as the cha­rac­ters they embo­dy are hesi­tant. They are sup­por­ted by Iran’s Payman Maadi who gives a devas­ta­ting per­for­mance as the Tajikistani who can’t speak a word of his “host” country’s lan­guage. Their strugg­le to express a varie­ty of over­whel­ming emo­ti­ons reso­na­tes deeply and moves the view­er bey­ond words.

 
Credits:

FR 2019, 98 Min., frz. OmU
Regie: Anne Fontaine
Kamera: Yves Angelo
Schnitt: Fabrice Rouaud
mit: Omar Sy, Virginie Efira, Grégory Gadebois (ab 10.12.)

Termine:

  • noch keine 

 
Trailer:

Im Kino mit deut­schen Untertiteln.

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Zustand und Gelände

A film by Ute Adamczewski. Soon at the fsk. In German with English subtitles

[Credits] [Termine] [Trailer]

The tit­le alrea­dy indi­ca­tes that this is about two levels. History and the pre­sent, archi­ve and pre­sence – the­se are the terms Ute Adamczewski uses to descri­be the ten­si­on bet­ween sta­te and ter­rain. The seri­es of dicho­to­mies could be con­ti­nued with “image and sound”. What we see in the­se two hours are towns, pla­ces and land­s­capes in Saxony. They all have a con­nec­tion to events immedia­te­ly after the Nazis sei­zed power in 1933. At that time the hunt for poli­ti­cal oppon­ents began which affec­ted so many that nume­rous, part­ly impro­vi­sed pri­sons and camps were built in the area.

An off-screen woman’s voice calm­ly reads from docu­ments of the peri­od, sup­ple­men­ted and expan­ded by memoi­rs of tho­se affec­ted from the post-war peri­od. Historical-poli­ti­cal aspects are added suc­ces­si­ve­ly. In the GDR, only tho­se who had fought against fascism were regar­ded as “vic­tims of fascism”. Jews were no vic­tims in that sen­se. This finds a remar­kab­le par­al­lel in the fact that even the Nazis in their attempts to bring order to the per­se­cu­ti­ons of 1933 (still) exclu­ded the Jews: “Foreign descent is no rea­son for pro­tec­ti­ve detenti­on.” An impres­si­ve film about the pre­sence of the past, both in form and content.

Bert Rebhandl

 
Credits:

DE 2019, 118 Min., OmeU, 
Regie, Buch, Schnitt: Ute Adamczewski
Kamera: Stefan Neuberger

Termine:

  • noch keine 

 
Trailer:

Zustand und Gelände (offi­zi­el­ler Trailer) from Grandfilm on Vimeo.

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The Assistant

A film by Kitty Green. Soon at the fsk. In English with German subtitles.

[Credits] [Termine] [Trailer]

Another day at the office. Jane, the new assi­stant to a power­ful media mogul, is the first to arri­ve and, by the end of the film, will be the last to lea­ve. She does her job, endu­res her col­leagues’ con­stant hos­ti­li­ty and app­lies herself to her gro­wing pile of tasks with pain­sta­king pre­cisi­on: prin­ting out sche­du­les, arran­ging tra­vel, orde­ring lunch and tidy­ing up her boss’s office. Without him ever once put­ting in an appearan­ce in front of the came­ra, his exis­tence is none­theless all-per­va­si­ve – for both Jane and the audi­ence. We hear him on the other end of the pho­ne repri­man­ding Jane; we also wit­ness the array of attrac­ti­ve young women who are paying a visit to the com­pa­ny at his behest. Jane’s sus­pi­ci­ons and dis­com­fort spin out of con­trol as it beco­mes clear that she is part of an abu­si­ve system.
Assembled with visu­al rigo­ur and nar­ra­ti­ve quietu­de, Kitty Green’s grip­ping fic­tio­n­al debut homes in on opp­res­si­ve prac­ti­ces in a work­place and depicts the abu­se taking place behind clo­sed doors from the per­spec­ti­ve of tho­se who are its wil­ling or unwil­ling enab­lers. By the end, we may not have seen much, but we under­stand everything.

 
Credits:

US 2019, 87 Min., engl. OmU,
Regie: Kitty Green
Kamera: Michael Latham
Schnitt: Kitty Green, Blair McClendon
mit Julia Garner, Matthew Macfadyen, Makenzie Leigh, Kristine Froseth

Termine:

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Maternal

A film by Maura Delpero.Starts December 10th at the fsk.In Spanish with German subtitles.

[Credits] [Termine] [Trailer]

In a coun­try whe­re abor­ti­on is not yet legal, Delpero’s first fic­tion film deals with a signi­fi­cant social issue by star­ting from an emble­ma­tic set­ting whe­re pregnant and often underage girls coha­bit with women who will never be mothers. The direc­tor sub­t­ly plays on this under­ly­ing ten­si­on, buil­ding a nar­ra­ti­ve brought to life by the prot­ago­nists’ glan­ces and silences.
Daniela Persico

 
Credits:

IT/AR 2019, 91 Min.,span. OmU
Regie: Maura Delpero
Kamera: Soledad Rodriguez
Schnitt: Ilaria Fraioli, Luca Mattei
mit: Lidiya Liberman, Denise Carrizo, Agustina Malale, Isabella Cilia, Alan Rivas, Livia Fernán, Marta Lubos, Renata Palminiello

Termine:

  • noch keine 

 
Trailer:

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