A film by Fabian Stumm. Starts January 18th at the fsk. In German and French with German subtitles. 

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“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

Trailer:

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A film by Kaouther Ben Hania. Starts January 18th at the fsk. In Arabic with German subtitles. 

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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.

Credits:

FR, TN, DE SA 2023, 110 Min., arab. OmU
Regie: Kaouther Ben Hania
Kamera: Farouk Laaridh
Schnitt: Jean-Christophe Hym, Qutaiba Barhamji
mit Hend Sabri, Olfa Hamrouni, Eya Chikhaoui, Tayssir Chikhaoui, Nour Karoui, Ichraq Matar, Ma..

Trailer:

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A film by Karen O’Connor, Miri Navasky, Maeve O’Boyle. Starts December 28th at the fsk. In English with German subtitles. 

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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:

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A film by Catherine Corsini. Starts January 4th at the fsk. In French with German subtitles.

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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.

Credits:

FR 2023, 106 Min., franz. OmU
Regie: Catherine Corsini
Kamera: Jeanne Lapoirie
Schnitt: Frédéric Baillehaiche
mit: Aïssatou Diallo Sagna, Esther Gohourou, Suzy Bemba, Lomane de Dietrich, Cédric Appietto, Marie-Ange Géronimi, Harold Orsoni, Virginie Ledoyen, Denis Podalydès

Trailer:

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A film by Ray Ashley, Morris Engel, Ruth Orkin. Strts December 21st at the fsk. In English with German subtitles. 

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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

Trailer:

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A film by Wim Wenders. Starts December 21st at the fsk. In Japanses with German subtitles.

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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 PERFECT DAYS 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

Trailer:

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A film by Rodrigo Sorogoyen. In French and Spanish with German subtitles.

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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

Trailer:

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A film by Jeanne Herry. In French with German subtitles.

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Face to face: in her new film, Jeanne Herry tack­les the sen­si­ti­ve sub­ject of perpetrator/victim encoun­ters. At first glan­ce, Gregoire, Nawelle, Sabine and Chloe have not­hing in com­mon – apart from the fact that they are all vic­tims of crime. Now they are vol­un­t­a­ri­ly taking part in a pro­gram­me in which they meet cri­mi­nals doing time for their cri­mes. For both sides, an emo­tio­nal and dif­fi­cult jour­ney beg­ins, in which cou­ra­ge, trust and fri­ends are neces­sa­ry to get past the ran­cour – and may­be find ways to con­quer the shadows of the past.

Credits:

Je ver­rai tou­jours vos visa­ges, FR 2023, 118 Min., frz. OmU, Regie: Jeanne Herry, Kamera: Nicolas Loir, mit: Adèle Exarchopoulos, Dali Benssalah, Leïla Bekhti, Birane Ba, Anne Benoît, Elodie Bouchez, MiouMiou, Gilles Lellouche

Trailer:

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