Sam Ali, a young sensitive and impulsive Syrian, left his country for Lebanon to escape the war. To be able to travel to Europe and live with the love of his life, he accepts to have his back tattooed by one of by the World’s most sulfurous contemporary artist. Turning his own body into a prestigious piece of art, Sam will however come to realize that his decision might actually mean anything but freedom.
Credits:Trailer:nach oben
Sorry, this entry is only available in German.
80 Jahre alt wäre der Maler, Autor, Regisseur und politische Aktivist Derek Jarman am 31.1.22 geworden. Er starb 1986 an den Folgen seiner AIDS-Erkrankung, die er auch in seinen Filmen zur Sprache brachte. BLUE, sein letzter und formal wohl extremster Film, wurde von der Krankheit, durch die er erblindete, bestimmt. Die Ton- Musik- und Sprechcollage vor monochrom blauer Leinwand ist politisch und persönlich, poetisch und diskursiv zugleich.
Jarmans Filme gelten als radikal, zornig und engagiert. Er führte einen stetigen Kampf gegen die Thatcher-Regierung und zeigte sich hierbei als Queer- und AIDS-Aktivist, aber sein Thema war vor allem auch die Liebe, besonders die verhinderte, und körperliche.
Wir zeigen sechs seiner Werke, die neu restauriert und digitalisiert wurden. Dazu gibt eine Doku über ihn, von Regisseur Julien Isaac und Tilda Swinton, die ohne Jarman nicht zu denken wäre (und umgekehrt), und in allen sechs Filme mitwirkt:
Caravaggio (1986, 93‘), der biografische Ausschnitt vom italienischen Maler ist wohl sein bekanntestes Werk. (21.1. 17:45) [Tickets]
The Garden (1990, 95‘) ist eine sinnliche, subjektive, schwule Passionsgeschichte mit Garten-nahem Atomkraftwerk.(22.1. 17:45) [Tickets]
Edward II (1991, 90‘) hat bei Jarman einen etwas anderen Stand als bei Mel Gibson seinerzeit.(23.1. 17:45) [Tickets]
Wittgenstein (1993, 75‘) – „heitere, dialogsichere, hervorragend gespielte Gesamtschau auf das Leben eines philosophischen Außenseiters“ (Lexikon des intern. Films) (24.1. 17:45) [Tickets]
War Requiem (1989, 92‘) ist die filmische Umsetzung Benjamins Brittons Musikstücks, mit Laurence Olivier in seiner letzten Rolle. (25.1. 17:45) [Tickets]
Blue DF (1993, 74‘), gesprochen von Derek Jarman, Tilda Swinton, Nigel Terry, John Quentin, und in der deutschen Fassung von Ulrich Matthes, Sylvester Groth, Wolfgang Condrus, Eva Mattes. (22. & 23.1. 15:45) Blue OV [Tickets]
Derek (2008, 76‘) – ein Brief, ein Interview, eine Rückschau und Hommage (26.1. 17:45) [Tickets]
a film by Elmar Imanov. Starts February 17th at the fsk. InAzeri with German subtitles.
[Credits] [Tickets & Termine] [Trailer]
A family is coming apart: unemployed actor Samir just wants to be left alone; his wife Fidan thinks about taking on a job in Berlin and their son Mahmud just wants to get as far away from his parents as possible. But then a dramatic incident during a trip to the beach uncovers the family’s weak spots painfully. The film masterfully navigates between these three characters and portraits them as both strangers and accomplices at the same time. Cologne-based director Elmar Imanov’s film received the FIPRESCI Critics Award at this year’s International Film Festival in Rotterdam.
Credits:DE/GE/AZ 2019, 92 Min., azeri OmU
Regie: Elmar Imanov
Kamera: Berta Valin Escofet und Driss Azhari
Schnitt: Ioseb „Soso” Bliadze
mit Rasim Jafarov, Zulfiyye Gurbanova, Mir-Mövsüm Mirzazade
Trailer:
nach oben
a film by Céline Sciamma. Starts February 17th at the fsk. In French with German subtitles.
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Eight-year-old Nelly has just lost her beloved grandmother and is helping her parents clean out her mother’s childhood home. She explores the house and the surrounding woods where her mum, Marion, used to play and where she built the treehouse Nelly has heard so much about. One day her mother suddenly leaves. That is when Nelly meets a girl of her own age in the woods, building a treehouse. Her name is Marion.
Taking part in the Berlinale for the second time, Céline Sciamma’s fifth film is a work of great intensity and maturity. Expressed via Claire Mathon’s luminous autumnal cinematography, the director’s gaze explores an important moment in the transition to adulthood with poetic precision. Once again, Sciamma examines the big questions in life from a resolutely female perspective. The power of memory and imagination are explored in a unique, emotionally resonant experience.
Credits:FR 2021, 72 Min., frz. OmU
Regie, Buch: Céline Sciamma
Kamera: Claire Mathon
Schnitt: Julien Lacheray
mit Joséphine Sanz, Gabrielle Sanz, Nina Meurisse, Stéphane Varupenne, Margot Abascal
Trailer:
nach oben
a film by Antonia Kilian. Starts January 27th at the fsk. In Arabic, Kurdish and German with German subtitles.
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Combat training instead of forced marriage and IS? 19-year-old Hala escapes from Minbij in North Syria across the Euphrates and ends up in the Kurdish military. After her training she returns to her hometown as a police officer with the intention of saving her younger sisters.
Credits:DE/FI 2021, 92 Min., Arabisch, Kurdisch, Deutsch mit deutschen Untertiteln
Regie: Antonia Kilian
Kamera: Antonia Kilian
Ton: Nadya Derwish
Schnitt: Arash Asadi
Trailer:
nach oben
a film by Wen Shipei . Starts january 27th at the fsk. In Mandarin with German subtitles.
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On a dark night, Xueming hits a pedestrian with his car and flees the scene. Desperate to escape his feelings of guilt, he decides to approach the dead man’s wife, Mrs Liang. Meanwhile, the body is discovered – riddled with bullets. Chen, the detective in charge of the investigation, becomes obsessed with the case. Years later, all three remain caught in a tangled web of memories and lies, desperately searching for a truth that refuses to be revealed…
Credits:Originaltitel: Re dai wang shi
CN 2021, 95 Min.,
Regie: Wen Shipei
Kamera: Cedric Cheung-Lau, Xiaosu Han, Zhang Heng, Andreas Thalhammer
Schnitt: Zhu Lin, Will Wei, Dong Jie, Noé Dodson, Cao Hangchen
mit: Eddie Peng, Peiyao Jiang, Zhang Yu, Sylvia Chang
Trailer:nach oben
a film by Andrea Segre. Starts December 30th at the fsk. In Italian with German subtitles
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Some things are very difficult for a father to share with his son and the latter can only start to understand them when he becomes a father. In February-April this year, Andrea Segre, who has been living in Rome for years, was blocked by the lockdown in Venice, the city of his father Ulderico. He was working there on two theatre and cinema projects on the city’s great blights: tourism and high water. While he was filming the city was frozen and emptied before his very eyes, restoring it to nature and its history, and in some ways to him as well. He collected visual notes and spent that period in his family home where he delved into the past. Personal archives in Super8 by the director’s father and the real protagonist of the film alternate with meetings with Venetian inhabitants, who talk about the relationship between the city and water whilst experiencing the unexpected arrival of the great void that has invaded Venice and a large part of the world. The whole thing is kept together by the director’s off screen voice, Teho Teardo’s music and an atmosphere of expectancy and amazement that pervades the entire visual and existential material of this strange journey.
Credits:IT 2020, 68 Min., ital. OmU,
Buch & Regie: Andrea Segre
Kamera: Matteo Calore, Andrea Segre
Schnitt: Chiara Russo
Trailer:nach oben
A film by Kitty Green. In English with German subtitles.
[Credits] [Tickets und Termine] [Trailer]
Another day at the office. Jane, the new assistant to a powerful media mogul, is the first to arrive and, by the end of the film, will be the last to leave. She does her job, endures her colleagues’ constant hostility and applies herself to her growing pile of tasks with painstaking precision: printing out schedules, arranging travel, ordering lunch and tidying up her boss’s office. Without him ever once putting in an appearance in front of the camera, his existence is nonetheless all-pervasive – for both Jane and the audience. We hear him on the other end of the phone reprimanding Jane; we also witness the array of attractive young women who are paying a visit to the company at his behest. Jane’s suspicions and discomfort spin out of control as it becomes clear that she is part of an abusive system.
Assembled with visual rigour and narrative quietude, Kitty Green’s gripping fictional debut homes in on oppressive practices in a workplace and depicts the abuse taking place behind closed doors from the perspective of those who are its willing or unwilling enablers. By the end, we may not have seen much, but we understand everything.
US 2019, 87 Min., engl. OmU,
Regie: Kitty Green
Kamera: Michael Latham
Schnitt: Kitty Green, Blair McClendon
mit Julia Garner, Matthew Macfadyen, Makenzie Leigh, Kristine Froseth
a film by Sabrina Sarabi. Starts January 20th at the fsk. In German with English subtitles.
[Credits] [Tickets & Termine] [Trailer]
It‘s high summer in the middle of nowhere, Mecklenburg, Germany. Five houses, one bus stop, cows, and nothing but fields. Twenty-four-year-old Christin (Saskia Rosendahl) lives on the farm of her long-term boyfriend Jan, twenty-five (Rick Okon). The exciting post-reunification years that defined her childhood are long gone.
Her relationship is loveless. Her father drinks. Christin, too, keeps the cherry liqueur under her car seat. In the shimmering heat of summer, time seems to stand still – until forty-six-year-old wind energy engineer Klaus (Godehard Giese) arrives from Hamburg and sets the world spinning again.
Credits:
DE 2021, 116 Min., dt. O.m.engl. U.
Buch und Regie: Sabrina Sarabi
nach dem Roman von Alina Herbing
Kamera: Max Preiss
Schnitt: Heike Parplies
mit: Saskia Rosendahl, Rik Okon, Godehard Giese, Enno Trebs, Peter Moltzen, Anne Weinknecht
Trailer:nach oben
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