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 Spain 2026, 111 mins, Spanish with German subtitles Director: Pedro Almodóvar Cinematography: Adrian Campean Editing: Laura Lauzemis starring 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
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.
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:
PERSEPOLIS4K Restaurierung | Trailer Deutsch | Neu auf 4KUHD, Blu-ray, DVD und Digital!
Im Kino in französisch mit deutschen Untertitlen.
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.
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
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,
Anna and Charlotte are constantly competing with each other. At least, that’s how their mother, Ines, wants it—she favors one over the other and makes sure the other one knows it. Nevertheless, the dissimilar sisters—one queer and nonconformist, the other a supposedly tough, successful woman—return to their childhood home in northern Germany. Old wounds are reopened and well-kept secrets come to light: Whose ashes is their mother hiding? What connects her to a Hungarian donkey farm? In their search for answers, the dissimilar sisters find new trust in one another.
A black comedy of the petty nastinesses found only within families. In her second feature film, director Rosanne Pel explores with subtle humor the often problematic relationships between mothers, sisters, and daughters—and the societal role models that underlie them. “Donkey Days” is a modern, beguilingly absurd family film brimming with empathy for its characters.
Credits:
NL/DE 2025, 108 Min., Original version in German, English, and Dutch, some with German subtitles Regie: Rosanne Pel Kamera: Aafke Beernink Schnitt: Xander Nijsten mit Jil Krammer, Susanne Wolff, Hildegard Schmahl, Amke Wegner, Carla Juri
Sandra Hüller portrays Ingeborg Bachmann on an imaginary day in Rome. Regina Schilling’s hybrid film weaves together reenactments, archival footage, and Bachmann’s own writings into a portrait that offers a refreshing new perspective on the author and positions her writings as a reference point in current debates on gender relations and power. P.B (DOKFest München)
Credits:
DE/AT 2026, 95 Min., deutsche OmeU Regie: Regina Schilling Kamera: Johann Feindt Schnitt: Carina Mergens mit: Sandra Hüller
Trailer:
Ingeborg Bachmann – Jemand, der einmal ich war | Offizieller Trailer | Ab 25. Juni im Kino
The struggle between the strictures of religion and our own brute animal nature plays out amid the beautifully forbidding landscapes of remote Iceland in this stunning psychological epic from director Hlynur Pálmason. In the late nineteenth century, Danish priest Lucas (Elliott Crosset Hove) makes the perilous trek to Iceland’s southeastern coast with the intention of establishing a church. There, the arrogant man of God finds his resolve tested as he confronts the harsh terrain, temptations of the flesh, and the reality of being an intruder in an unforgiving land. What unfolds is a transfixing journey into the heart of colonial darkness attuned to both the majesty and terrifying power of the natural world.
Credits:
IS/FR/DK/SE 2022, 135 Min., isländische OmU Regie : Hlynur Pálmason Kamera: Maria von Hausswolff Schnitt: Julius Krebs Damsbo mit: Elliott Crosset Hove, Vic Carmen Sonne, Ingvar Sigurdsson, Ída Mekkín Hlynsdóttir, Jacob Hauberg Lohmann
The film begins with a definition of its title: “DAO is a perpetual and circular movement which flows in everything and unites the world.” And then it proceeds to take us to the casting of Gloria, a character whose daughter is about to be married. An off-screen voice directing the casting session tells us that “the first step is to make this family”. Actors and non-actors are cast and brought together to become relatives who will all celebrate a wedding in Paris and commemorate the loss of their patriarch in Guinea-Bissau. Their individual stories and their common threads of heritage are woven together with fact and fiction as they travel between these two worlds; love, laughter, ritual, pain and history intertwined. Perpetual circular movement framing reality.
Credits:
FR/SN/GW 2026 , 185 Min., Französisch, Wolof, Manjak, Guineabissauisches Kreol OmU Regie: Alain Gomis Kamera: Céline Bozon, Amath Niane, Mabeye Deme Montage: Alain Gomis, Fabrice Rouaud, Assetou Koné, Dimitri Ouedraogo, Elizabeth Ndiaye, Moustapha Mbalo Dieng mit Katy Correa, D’Johé Kouadio, Samir Guesmi, Mike Etienne, Nicolas Gomis, Fara Baco Gomis, Poundo Gomis
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