Author Archives: fsk

Tara

A Film by Volker Sattel & Francesa Bertin. In itlai­an with German subtitles.

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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.

Credits:

DE/IT 2022, 86 Min., ital. OmU,
Regie: Volker Sattel & Francesa Bertin
Kamera: Volker Sattel, Thilo Schmidt
Schnitt: Bettina Blickwede

Trailer:
Trailer | Tara | Sattel Volker, Francesca Bertin
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Utama

A film by IAlejandro Loayza Grisi. Starts February 9th at the fsk. In Spanish & Quechua with German subtitles.

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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

Trailer:
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Hallelujah: Leonard Cohen, a Journey, a Song

Ein Film von Daniel Geller und Dayna Goldfine. 

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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

Credits:

USA 2021 116 MIn., engl. OmU
Regie & Buch: Daniel Geller, Dayna Goldfine
Kamera: Dan Geller
Schnitt: Dayna Goldfine, Bill Weber, Dan Geller

Trailer:
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Concerned Citizen

A film by Idan Haguel. Starts February 2nd at the fsk. In Hebrew with German subtitles.

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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

Trailer:
CONCERNED CITIZEN Trailer Deutsch | German [HD]
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Petrov’s Flu

A film by Kirill Serebrennikov. In Russian with German subtitles.

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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

Trailer:
PETROV’S FLU | Trailer [HD]
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Return to Seoul

A film by Davy Chou.

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What does hap­pi­ness look like? The ques­ti­on throbs under the sen­suous sur­faces and emo­tio­nal­ly fraught dia­lo­gues of Davy Chou’s reso­nant third fea­ture RETURN TO SEOUL. 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)

Credits:

BE/DE/FR/QT 2022, 119 Min., frz, kore­an., engl. OmU,
Regie: Davy Chou
Kamera: Thomas Favel
Schnitt: Dounia Sichov
mit: Ji-Min Park, Oh Kwang-rok, Guka Han, Yoann Zimmer

Trailer:
RETURN TO SEOUL | Official Trailer (2022)
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Close

A film by Lukas Dhont.

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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

Trailer:
Close | Official Trailer HDA24
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An einem schönen Morgen

A film by Mia Hansen-Løve. In French with German subtitles.

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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 BERGMAN ISLAND, 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

Trailer:
UN BEAU MATIN – Trailer F/d
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The Banshees of Inisherin

A film by Martin McDonagh. In English with German subtitles

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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.
BANSHEES OF INISHERIN 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

Trailer:
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Stille Post

A film by Florian Hoffmann. In German Turkish and Kurdish with German subtitles.

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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 | „STILLE POST” – Ab 15.12.2022 im Kino
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