The Tara is a river on the outskirts of Taranto whose waters are believed to have healing properties; bathing there is a tradition for the inhabitants of the city. Starting from this bucolic place, Volker Sattel and Francesca Bertin take us on a journey through a territory where myths clash with reality and where so-called “progress” has taken a heavy toll on nature and society.
In the Bolivian highlands, an elderly Quechua couple has been living the same daily life for years. When an uncommonly long drought threatens their entire way of life, Virginio and his wife Sisa face the dilemma of resisting or being defeated by the environment and time itself.
Credits:
BO 2022, 87 Min., Quechua, Spanisch OmU Regie: Alejandro Loayza Grisi Kamera: Barbara Alvarez Schnitt: Fernando Epstein mit: José Calcina, Luisa Quispe, Santos Choque
Neulich beim Aqua-Fitness gab es zur Unterstützung des Takthaltens eine besonders scheußliche Disko-Techno-Version, gestern auf der Strandpromenade an der Ostsee eine verhaltene mit Solo-Trompete: HALLELUJA ist überall. Kaum eine Hochzeit, Beerdigung, Casting-Show, Straßenmusikerin kommt mehr ohne eine – textlich gerne entschärfte – Version aus, und Musikerinnen, die was auf sich halten, reichern ihre Auftritte damit an, ebenso myriaden TV-Sendungen, Serien, Shows und Filme. Was ist mit diesem Song, der offensichtlich die meisten Menschen rund um den Globus zu rühren vermag? Der Film erzählt die Geschichte des Liedes, das Leonard Cohen beim Schreiben über Jahre auf metaphysischer Suche Strophe auf Strophe, die genaue Anzahl bleibt im Dunkeln, verlängerte. Die Annäherung an den Poeten und Sänger über ein einziges Lied, vielleicht sein, so legt der Film nahe, wichtigstes, ist hier sehr schlüssig, aber nicht das einzig Interessante. Von Menschen, die dem Musiker nahe standen und mit der Entstehung oder dem Song allgemein zu tun hatten, hören wir von der unglaublichen Veröffentlichungsgeschichte, wie der Song trotzdem in die Welt kam und von wem. Dazu gibt es einige kluge Kommentare und Überlegungen zum Musikgeschäft allgemein und darüber hinaus. Meine Lieblings-Interpretation von HALLELUJA ist übrigens nach wie vor die von John Cale von 1991, trotz einiger hübscher unter den Aufnahmen, die im Netz zu finden sind.
„Kann man das Genie eines so vielseitigen Dichters, über dessen Leben es knapp 20 Filme gibt, auf einen Song konzentrieren? Die erstaunliche Antwort gibt dieser Film, der es schafft, die wichtigsten biografischen Wendepunkte zu erwähnen und doch im Kern nur die Geschichte von »Hallelujah« zu erzählen. Dabei ist es erstaunlich, …, wie wechselvoll Cohens Beziehung zu seinem eigenen Lied war und wie er sich am Ende damit rettete.“ epd-film
Hallelujah: Leonard Cohen, a Journey, a Song
Credits:
USA 2021 116 MIn., engl. OmU Regie & Buch: Daniel Geller, Dayna Goldfine Kamera: Dan Geller Schnitt: Dayna Goldfine, Bill Weber, Dan Geller
Ben plants a tree on the street in front of his house in Neve Sha’anan, a migrant neighbourhood in the south of Tel Aviv. The district is on the up, and Ben has bought and upgraded a flat here together with his partner Raz. This gay couple now enjoys a settled existence, their days are structured by a well-established routine and everything is in its proper place. Time then, to tackle their desire to have children. And so, assiduously and conscientiously, they set about searching for a suitable egg donor and surrogate mother. One day, when a neighbourly conflict escalates over the tree he has planted, Ben becomes witness to brutal police violence against an Eritrean. The incident upsets his self-image and his plans for a life together with Raz. Idan Haguel portrays a gay middle-class couple whose desire for self-realisation begins to narrow their worldview, bringing deep-seated prejudices to light. A deftly told parable about the mechanisms of gentrification which, with a hint of satire, raises an uncomfortable question, namely: exactly how tolerant are we?
Credits:
IL 2022, 82 Min., hebäische OmU Regie, Buch: Idan Haguel Kamera: Guy Sahaf Schnitt: Shauly Melamed mit: Shlomi Bertonov, Ariel Wolf
A deadpan, hallucinatory romp through post-Soviet Russia. With the city in the throes of a flu epidemic, the Petrov family struggles through yet another day in a country where the past is never past, the present is a booze-fueled, icy fever dream of violence and tenderness, and where – beneath layers of the ordinary – things turn out to be quite extraordinary. Based on the novel „The Petrovs In and Around the Flu” by Alexey Salnikov.
Credits:
RU 2021, 145 Min., russ. OmU, Regie & Buch: Kirill Serebrennikov nach dem gleichnamigen Roman von Alexey Salnikov Kamera: Vladislav Opelyants Schnitt: Yuriy Karikh mit: Semyon Serzin, Chulpan Khamatovar
What does happiness look like? The question throbs under the sensuous surfaces and emotionally fraught dialogues of Davy Chou’s resonant third feature RETURNTOSEOUL. Frederique, or Freddie, a young French woman born of South Korean parents revisits Seoul: what starts out as a seemingly casual trip to connect with her cultural past soon ripens into a journey of anguished self-discovery, as Freddie visits an adoption agency and tries to make contact with her biological parents. Expanding the narrative to move briskly through packed days before suddenly leaping years, Chou gives his edgy heroine a lengthy, yet richly nuanced script to work with. In the film, familial love lies in wait, punctuated by new friendships and sexual experimentation, and the need for maternal acceptance, though agonizingly essential, slowly ripens into only a broader search for self-awareness. But how does one become fully self-aware while not understanding one’s origins? Thomas Favel’s quietly attentive cinematography sustains the existential eeriness of Freddie’s quest. Newcomer Park Jin-Min in the title role delivers an exhilarating performance as a rebellious young woman who refuses to be wrecked by the immensity of her longing, yet must learn to acknowledge, and then embrace, her vulnerability. (Ela Bittencourt)
The intense friendship between two thirteen-year old boys Leo and Remi suddenly gets disrupted. Struggling to understand what has happened, Leo approaches Sophie, Remi’s mother. Close is a film about friendship and responsibility.
Credits:
BE/FR/NL 2022, 105 Min., frz. OmU Regie: Lukas Dhont Kamera: Frank van den Eeden Schnitt: Alain Dessauvage mit: Eden Dambrine Gustav De Waele Emilie Dequenne Léa Drucker
Mia Hansen-Løve’s simplest, most focused film in some time – and surely her most mature yet – returns to a recurrent theme of hers, the way that the different strands of a life intersect and interfere with each other. Here protagonist Sandra is dealing with the rebirth of love, while contemplating the end of a life – her father’s. She is a translator and mother to an eight-year-old daughter, Linn; her father is Georg, a distinguished professor of philosophy whose eyesight and his mind are failing him irreversibly. While she tends to both daughter and father, Sandra encounters an old friend, Clément. His scientific specialism as a cosmochemist leads him to fathom the infinite, while Sandra’s daily concerns seem to strand her on a strictly earthly plane – but there’s always the promise of love. After the self-reflexive playfulness of BERGMANISLAND, Hansen-Løve offers a rigorous but tender study of life’s complexities seen through a lens of pragmatic realism. Léa Seydoux, excelling in the most unvarnished of her recent roles, shines alongside Pascal Greggory, whose status as a French cinema veteran enters a rich new phase in his portrayal of an intellectual facing his twilight. (Jonathan Romney)
Credits:
Un beau matin FR/DE 2022, 112 Min., frz OmU Regie: Mia Hansen-Løve Kamera: Denis Lenoir Schnitt: Marion Monnier mit: Léa Seydoux, Pascal Greggory, Melvil Poupaud, Nicole Garcia, Kester Lovelace
As the Irish Civil War rages on, the island of Inisherin remains just out of reach. When the wind drops, bombs can be heard, but many of the inhabitants are so disconnected from everything that they are unsure where their allegiances lie. Martin McDonagh’s film never leaves the island, but its sweeping vistas and stunningly-shot coastlines ensure that the film never feels claustrophobic, its few inhabitants spread out so sparsely that each home is like a testimony to loneliness. BANSHEESOFINISHERIN takes its name from a piece of music Colm composes across the course of the film. Unfortunately for his best friend Pádraic, Colm has decided that he must stop speaking to him in order to devote his final years to music. When Padraic refuses to accept this, Colm swears that any time Padraic speaks to him he will cut off one of his own fingers. The film is blackly comic, frequently absurd and proves to be McDonagh’s finest work, with a career-best turn from Farrell playing a lost soul confronting crippling loneliness and inadequacy. The film’s allegory for the civil war is present but not overplayed, a hauntingly lyrical tribute to humanity’s capacity for self-destruction. (Leila Latif)
Credits:
GB/IR/US 2022, 109 Min., engl. OmU Regie: Martin McDonagh Kamera: Ben Davis Schnitt: Mikkel E.G. Nielsen mit: Colin Farrell Brendan Gleeson Kerry Condon Barry Keoghan
Khalil is a primary school teacher and lives with his journalist girlfriend Leyla in Berlin. When she shows him war videos from his hometown in Turkey – the Kurdish town of Cizre, Khalil’s orderly life starts to slip out of his hands: he recognizes his sister, who was declared dead years ago, in the amateur footage. He tries to get in contact with her through the Kurdish community. But in return for their help, they want him to get the war videos into the German news. But no broadcaster is interested: other conflicts have a higher news value. Only when Khalil and Leyla decide to manipulate the videos, they finally get the media attention they wanted: news reports and political debates pick up speed. But when the conflict reaches Khalil’s school class, he realizes that it is no longer just a question of winning the competition for the news attention, but of protecting his own life in Berlin.
Credits:
DE 2021, 94 Min., Deutsch, Türkisch, Kurdisch OmU Drehbuch & Regie: Florian Hoffmann Kamera: Carmen Treichl Schnitt: Marco Rottig mit: Hadi Khanjanpour, Kristin Suckow, Aziz Capkurt, Jeanette Hain, Mela Kanbak
Trailer:
Offizieller Teaser | „STILLEPOST” – Ab 15.12.2022 im Kino
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