Author: fsk

  • Films by Jean Eustache

    Films by Jean Eustache

    Jean Eustache, a trai­ned elec­tri­ci­an and self-taught film­ma­ker, was, as the son of a working-class fami­ly, an excep­tio­nal figu­re within the other­wi­se bour­geois Nouvelle Vague. His life is reflec­ted in his films in an almost auto­bio­gra­phi­cal way. With a pre­cise atten­ti­on to lan­guage, ges­tu­res and social rea­li­ties, Eustache’s cine­ma ope­ra­tes within the realm of docu­men­ta­ry fic­tion. Thanks to the Re:Visted series from Grand film dis­tri­bu­tors, we are able to offer two of his classics:

    LA MAMAN ET LA PUTAIN from 1973, in which Jean-Pierre Léaud plays Alexandre, a flâ­neur caught bet­ween two women and end­less con­ver­sa­ti­ons in Parisian cafés as he sear­ches for his true self. 16 & 18 June 26

    In the auto­bio­gra­phi­cal­ly inspi­red 1974 film MES PETITES AMOUREUSES, 13-year-old Daniel is torn from his shel­te­red coun­try life and thrust into the con­fi­nes of the city and the harsh­ness of the adult world. 17 & 19 June 2026

  • Ninja Motherf*cking Destruction

    Ninja Motherf*cking Destruction

    A film by Lotta Schwerk. Showing at the fsk from 16 July.

    [Credits] [Tickets & Termine] [Trailer]

    A long-term cine­ma­tic stu­dy that fol­lows Leonie’s coming of age over eight years: Leonie and Marlene are 18 years old, best fri­ends, and con­vin­ced that not­hing can sepa­ra­te them. But Leonie falls in love with Naomi, devo­tes hers­elf enti­re­ly to her gre­at love, and drifts fur­ther and fur­ther away from Marlene. Over time, it beco­mes clear that Naomi suf­fers from depres­si­on, which incre­asing­ly over­w­helms Leonie. It is only when the rela­ti­onship final­ly breaks down that Leonie rea­li­ses just how much she has iso­la­ted hers­elf. She lea­ves Berlin and beg­ins an app­ren­ti­ce­ship as a gar­de­ner in Brandenburg, which helps her to make sen­se of the world around her once more. With new­found strength, she plucks up the cou­ra­ge to reach out to her child­hood fri­end Marlene after years of estran­ge­ment.
    “When I began shoo­ting this film in 2017, I lon­ged for a space in cine­ma whe­re a young fema­le or que­er body could grow up free from the male gaze during the vul­nerable peri­od bet­ween the ages of 18 and 25. ‘Ninja Motherf*cking Destruction’ is a film about inti­ma­cy, about sexua­li­ty and about bodies that chan­ge over the cour­se of eight years. And about the loving, pain­ful, ambi­va­lent web of rela­ti­onships bet­ween (que­er) women.”
    Lotta Schwerk

    Credits:

    DE 2025 79 mins, German with English sub­tit­les,
    Director: Lotta Schwerk
    Cinematography: Fion Mutert
    Starring: Emma Suthe, Marie Tragousti, Merle von Mach, Yildiz Tiryakioglu

    Trailer:
    nach oben
  • Dry Leaf

    Dry Leaf

    A film by Alexandre Koberidze. From 2 July at the fsk. In Geogian with German subtitles.

    [Credits] [Tickets & Termine] [Trailer]

    When Lisa, a young sports pho­to­grapher, goes miss­ing, her father deci­des to search for her and sets off on a jour­ney through Georgia with her best fri­end, the mys­te­rious Levani. Lisa had most recent­ly been pho­to­gra­phing foot­ball sta­di­ums across the coun­try. As the land­scape pas­ses by and they move from one foot­ball pitch to the next, the peo­p­le and their sto­ries chan­ge. Yet with every foot­ball pitch and every vil­la­ge, the chan­ces of fin­ding Lisa seem to dwindle…

    With his new road movie, Alexandre Koberidze con­ti­nues his poe­tic explo­ra­ti­on of his home­land, Georgia, fol­lo­wing on from WAS SEHEN WIRWENN WIR ZUM HIMMEL SCHAUEN?

    Credits:

    DE/GE 2025, 186 mins, Georgian ver­si­on with German sub­tit­les
    Director, cine­ma­to­gra­phy, editing: Alexandre Koberidze
    star­ring: David Koberidze, Otar Nijaradze, Irina Chelidze, Giorgi Bochorishvili, Vakhtang Panchulidze, Manu Tavadze

    Trailer:
    nach oben
  • Little boy

    Little boy

    A film by James Benning. Stzarts July 9th at the fsk. In English with German subtitles.

    [Credits] [Tickets & Termine] [Trailer]

    A film that looks back at the past to warn of the future, from the per­spec­ti­ve of a litt­le boy.’ – James Benning

    Little Boy’ – that was the name the Americans gave to the Hiroshima ato­mic bomb. But litt­le boys also play with toys such as the model kits that play a cen­tral role in Benning’s film. For the dura­ti­on of each pop song – which comm­ents on the film’s the­mes – dif­fe­rent hands paint the model parts, fol­lo­wed by a shot of the finis­hed model: pre­do­mi­nant­ly small indus­tri­al buil­dings, who­se com­pa­ny signs refer to US defence con­trac­tors. Political spee­ches are also heard; among other things, they deal with rear­ma­ment, envi­ron­men­tal des­truc­tion and the nuclear arse­nal. “It’s late,” sings Ricky Nelson. Benning hopes, more cle­ar­ly than ever befo­re, that it is not yet too late.”
    (Lars Penning)

    Credits:

    US 2025, 74 mins, English with German sub­tit­les
    Directed by James Benning
    star­ring Johnan Jahromi, Alessandro Streccioni, Yusef Ferguson, Yuan Gao, Nelson De Los Santos, Calum Walter, Nathan Meier, James Benning

    Trailer:

    kein Trailer.

    nach oben
  • Bitteres Fest

    Bitteres Fest

    A film by Pedro Almodóvar. Starts July 30th at the fsk. In Spanish with German subtitles.

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    Raúl is a cult film­ma­ker in the midst of a crea­ti­ve cri­sis.
    When tra­ge­dy strikes one of his clo­sest col­la­bo­ra­tors, he draws inspi­ra­ti­on from it to wri­te his next film. Little by litt­le, he ima­gi­nes Elsa, a film­ma­ker in the midst of wri­ting a script, who­se jour­ney beg­ins to mir­ror his own.
    The two film­ma­kers beco­me two sides of the same cha­rac­ter, in a game of mir­rors whe­re the raw hones­ty of auto­fic­tion reve­als as much as it des­troys. But how far can one go to tell a story?

    Credits:

    Amarga Navidad
    ES 2026, 111 Min., spa­ni­sche OmU
    Regie: Pedro Almodóvar
    Kamera: Pau Esteve Birba
    Schnitt: Teresa Font
    mit Bárbara Lennie, Leonardo Sbaraglia, Aitana Sánchez-Gijón und Victoria Luengo.

    Trailer:
    nach oben
  • filmPOLSKA reloaded – Briefe aus der Wilcza – Listy z Wilczej

    filmPOLSKA reloaded – Briefe aus der Wilcza – Listy z Wilczej

    A film by Arjun Talwar. In Polish with German and English subtitles.

    [Credits] [Tickets & Termine] [Trailer]

    A street in cen­tral Warsaw is the focus of this wit­ty and per­so­nal por­trait of Poland. Filmmaker Arjun Talwar immi­gra­ted to the coun­try a deca­de ago but still strug­gles to fit in. Ulica Wilcza, the street whe­re he lives, has not real­ly hel­ped mat­ters. In an attempt to acce­le­ra­te his inte­gra­ti­on, he beg­ins film­ing his neigh­bours, sound­ing out his rela­ti­onships with them and see­king ways to over­co­me his own fee­lings of ali­en­ati­on. With the help of his fri­end Mo, ano­ther immi­grant-tur­ned-film­ma­ker, Arjun unco­vers the hid­den secrets of the street, reve­al­ing a host of char­ming inha­bi­tants. He finds other peo­p­le like hims­elf who are living bet­ween the past and pre­sent, bet­ween an ima­gi­ned home­land and the real one. The street con­nects them all like an invi­si­ble thread, offe­ring solace in the melan­cho­ly of ever­y­day life. Along this kilo­met­re-long stretch, a pic­tu­re of modern Europe emer­ges, expo­sing a kalei­do­scope of con­tra­dic­tions and anxie­ties as a for­eign film­ma­ker holds up a mir­ror to a coun­try that is often per­cei­ved as homo­ge­neous, unwel­co­ming and poli­ti­cal­ly right-wing.

    Credits:

    PL/DE 2025, 97 Min., pol­ni­sche Originalfassung mit deut­schen und eng­li­schen Untertiteln
    Regie & Kamera: Arjun Talwar
    Schnitt: Bigna Tomschin, Arjun Talwar & Sabina Filipowicz

    Trailer:
    nach oben
  • Persepolis

    Persepolis

    A film by Marjane Satrapi. Starts June 20th at the fsk. In French with German subtitles.

    [Credits] [Tickets & Termine] [Trailer]


    PERSEPOLIS was one of the most suc­cessful films shown in our cine­ma. Last week, the aut­hor and direc­tor, Marjane Satrapi, pas­sed away at the age of just 56. For this reason, we are brin­ging the film back into our pro­gram­me after 19 years.

    The film adapt­a­ti­on of the comic book of the same name.
    “The film tells the sto­ry, in simp­le, almost enti­re­ly black-and-white images, of the litt­le girl Marjane, who grows up in Tehran, goes to school in Austria, returns to Iran for a while, and then goes into exi­le in Paris for good. The sto­ry beg­ins with the ous­ting of the Shah, con­ti­nues through the betray­ed hopes of the revo­lu­ti­on to the war bet­ween Iran and Iraq, and ends with the tyran­ni­cal rule of the mul­lahs – all seen through the eyes of the ado­le­s­cent.
    It is the author’s per­spec­ti­ve, as she tells her own sto­ry in her immense­ly suc­cessful comics: cle­ver, wit­ty, self-depre­ca­ting, and at times deep­ly sad. Instead of using digi­tal ani­ma­ti­on tech­ni­ques, the film was drawn enti­re­ly by hand. That is why it actual­ly looks like Marjane Satrapi’s books in moti­on.” Verena Lueken

    In the 1980s, when Iran was fight­ing Iraq, many upper-midd­le-class par­ents sent their child­ren from Tehran to the West for their edu­ca­ti­on, inclu­ding my fami­ly. In Austria, my first stop, I often had to explain that my father didn’t have three wives and why I didn’t ride a camel at home. They were sur­pri­sed that I’d alre­a­dy been ski­ing and had drunk alco­hol. Just ima­gi­ne: you come from Tehran, which was alre­a­dy very modern at the time, to a small Austrian vil­la­ge – and here they explain moder­ni­ty to you. They didn’t even have a cine­ma in the vil­la­ge!”
    Marjane Satrapi

    Credits:

    Fr 2007, 96 Min., frz. OmU
    Regie: Marjane Satrapi / Vincent
    Paronnaud
    Nach den gleich­na­mi­gen Comics von Marjane Satrapi
    Originalstimmen: Gabrielle Lopes, Chiara Mastroianni, Catherine Deneuve, Danielle Darrieux, Simon Abkarian, François Jerosme

    Preis der Jury“ – Cannes 2007

    Trailer:
    PERSEPOLIS 4K Restaurierung | Trailer Deutsch | Neu auf 4K UHD, Blu-ray, DVD und Digital!
    Im Kino in fran­zö­sisch mit deut­schen Untertitlen.
    nach oben
  • To my Sisters

    To my Sisters

    A film by Faek Falak. Starts July 23rd at the fsk.

    [Credits] [Tickets & Termine] [Trailer]

    A young Kurdish woman in Syria leads a women’s unit into batt­le against ISIS—fighting for free­dom and women’s rights. Her strugg­le is nar­ra­ted by a Yazidi sur­vi­vor who was ens­laved by ISIS as a child and makes clear what is at sta­ke if this fight is lost. And while she sur­vi­ved the hor­ror, a German woman vol­un­t­a­ri­ly joi­n­ed ISIS—and is now at the mer­cy of the con­se­quen­ces of her decis­i­on. Three women, three decis­i­ons, a reflec­tion of cou­ra­ge, suf­fe­ring, and dan­ge­rous delusion.

    Credits:

    DE 2026, 96 Min., OmU
    Regie:  Faek Falak
    Kamera: Noah Schuller
    Schnitt: Kristina Bogen

    Trailer:
    TO MY SISTERS // Offizieller Trailer // Demnächst im Kino
    nach oben
  • Etwas ganz Besonderes

    Etwas ganz Besonderes

    A film by Eva Trobisch. Starts July 9th at the fsk. In German with English subtitles.

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    Lea hat sich bei einer Gesangs-Castingshow bewor­ben. Der Redakteur fragt: „Wer bist du und was macht dich aus?“ Lea weiß es nicht. Und beginnt, nach einem pas­sen­den Ich zu suchen. In ihrem thü­rin­gi­schen Heimatort wird gera­de das Museum kost­spie­lig aus EU-Töpfen saniert und die Pension im Besitz ihrer Familie kämpft ums wirt­schaft­li­che Überleben. Leas Familie, das sind ihre Eltern Matze und Rieke – frisch getrennt, da Rieke von einem ande­ren Mann schwan­ger ist, und noch recht unge­übt in den neu­en Familienverhältnissen. Und ihre Großeltern, die eben­falls genug Probleme mit­ein­an­der und mit ihrem Waldhotel haben, das in der besu­cher­ar­men Region mehr Geld ver­schlingt, als es ein­bringt. Dann ist da noch ihre Tante Kati, die in ihrer Unabhängigkeit ein Vorbild für Lea ist, sich als Museumsleiterin aber gera­de kei­ne Freunde in der klei­nen Provinzstadt macht. Leas bes­te Freundin Bonny ist ganz woan­ders mit dem Kopf, denn sie ist frisch ver­liebt in Leas Cousin, den Aktivisten Edgar. Wer also ist die Kandidatin Lea? Welche Homestory lässt sich aus die­ser Familiengeschichte machen?

    Credits:

    DE 2026, 116 Min., deut­sche Originalfassung mit eng­li­schen Untertiteln
    Regie: Eva Trobisch
    Kamera: Adrian Campean
    Schnitt: Laura Lauzemis
    mit  Frida Hornemann, Max Riemelt, Eva Löbau, Gina Henkel, Rahel Ohm, Peter René Lüdecke, Florian Geißelmann, Yvon Sable Moltzen, Ida Fischer, Florian Lukas, Thomas Schubert, Kara Schröder, Anne Kulbatzki, Nairi Hadodo

    Trailer:
    nach oben
  • Sechswochenamt

    Sechswochenamt

    A film by Jacqueline Jansen. In German with English subtiles.

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    The film opens with death, por­tray­ed with com­ple­te calm and wit­hout sen­ti­men­ta­li­ty. Then the grie­ving pro­cess beg­ins, depic­ted with sen­si­ti­vi­ty, not wit­hout moments of appa­rent call­ous­ness, which are not, howe­ver, taken amiss, but rather – like ever­y­thing else, in fact – told with infi­ni­te ten­der­ness. The over­whel­ming sen­se of being over­whel­med, the loneli­ne­ss, the unre­asonable demands: “This exis­ten­ti­al fee­ling of being aban­do­ned by the world and lost in it, of being cut off” (Joachim Kurz) This uni­que film also deals with this – on its meta-level, so to speak.
    Lore accom­pa­nies her mother as she dies. She returns to the small town of her child­hood, Erkelenz, whe­re many acquain­tances and rela­ti­ves still live who speak the Rhineland dialect. Dealing with death and the grie­ving pro­cess are the film’s cen­tral the­mes. Yet it is the way the sto­ry is told that makes this film tru­ly out­stan­ding. Naturally, melan­cho­ly sets the tone, but any poten­ti­al for sen­ti­men­ta­li­ty is com­ple­te­ly under­mi­ned by the neo­rea­list nar­ra­ti­ve style, to which the endea­ring per­for­man­ces of the many ama­teur actors also con­tri­bu­te.
    Alongside this, and in a com­ple­te­ly unob­tru­si­ve man­ner, the sto­ry is set during the pan­de­mic. Embedded within the nar­ra­ti­ve, it forms a kind of back­ground noi­se, fur­ther rein­for­cing the sen­se of loneli­ne­ss and aban­don­ment and thus reflec­ting the gene­ral sta­te of socie­ty.
    P.S. According to the Catholic Church, a ‘six-week mass’ is a ser­vice cele­bra­ted six weeks after a death, mar­king the end of the first pha­se of mour­ning for the bereaved.

    Credits:

    DE 2025, 98 Min., In German with English sub­ti­les
    Regie:  Jacqueline Jansen
    Kamera:Markus Ott
    Schnitt: Simon Dopslaf, Jacqueline Jansen
    mit Magdalena Laubisch, Gerta Gormanns, Lola Klamroth, Olga Prokot, Suzanne Ziellenbach, Marc Fischer,

    Trailer:
    Trailer SECHSWOCHENAMT – ab 18. Juni im Kino
    nach oben