Author Archives: fsk

Das Pfauenparadies

A film by Laura Bispuri. In Italian with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

One winter’s day, Nena gathers her fami­ly tog­e­ther to cele­bra­te her bir­th­day. Everyone is the­re: her hus­band Umberto, her son Vito and her daugh­ter Caterina with her cou­sin Isabella, her daugh­ter-in-law Adelina and her ex-son-in-law Manfredi with his new girl­friend Joana, her grand­d­augh­ter Alma, her maid Lucia with daugh­ter Grazia. And then the­re is Paco, Alma’s peacock. While ever­yo­ne waits for a lunch that will never be ser­ved, Paco beco­mes inf­a­tua­ted with a litt­le dove in a pain­ting. The tra­ge­dy inherent in the impos­si­bi­li­ty of this love dis­tres­ses the who­le fami­ly. All of the guests are impel­led to think about their true fee­lings, about what remains and what is gone forever.

Credits:

Il para­di­so del pavo­ne
DE/IT 2021, 89 Min., ital. OmU
Regie: Laura Bispuri
Kamera: Vladan Radovic
Schnitt: Carlotta Cristiani, Jacopo Quadri
mit: Dominique Sanda, Maddalena Crippa, Carlo Cerciello, Alba Rohrwacher, Fabrizio Ferracane, Maya Sansa

Trailer:
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Rifkin’s Festival

A film by Woody Allen. In English with German subtitles.

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Mort Rifkin, a snob­by elder­ly film cri­tic from New York[dis­am­bi­gua­ti­on nee­ded], is tel­ling his the­ra­pist about the recent deve­lo­p­ments in his life. In the recount, he’s accom­pany­ing his much youn­ger wife Sue to a film fes­ti­val in San Sebastián. She works as a press agent for Philippe, a French direc­tor who­se banal and deri­va­ti­ve anti-war film is being uni­ver­sal­ly cele­bra­ted as a mas­ter­pie­ce, to Mort’s chag­rin. Mort quick­ly beco­mes jea­l­ous of Sue and Philippe’s rela­ti­ons­hip, which incre­a­singly moves into open flir­ta­ti­on. Mort’s inner thoughts and fears cau­ses him to have night­ma­res inspi­red by well-known black and white cine­ma­tic clas­sics like Citizen Kane, Breathless, Jules and Jim, Persona, The Exterminating Angel, and .

While at the fes­ti­val, Mort remi­nis­ces about his life and the pre­ten­tious novel that he’s been wri­ting for deca­des, try­ing to achie­ve a litera­ry rele­van­ce that elu­des him. He reflects upon his youn­ger years when he used to teach cine­ma at the uni­ver­si­ty and felt hap­py and sti­mu­la­ted. Meanwhile, he’s hel­pless to keep Sue and Philippe from spen­ding time with each other. Eventually, he seeks medi­cal advice about some chest pains and meets Joanna „Jo” Rojas, a Spanish doc­tor who spent some time in New York and is now unhap­pi­ly mar­ried with an unfaith­ful, tem­pe­ra­men­tal artist. Joanna lea­ves a las­ting impres­si­on on Mort and he repeated­ly tri­es to enga­ge her atten­ti­on by faking health issu­es. Eventually, the two go on a sight-see­ing dri­ve through the sur­roun­ding coun­try, both having a good time in the process.

On their way back to town, a flat tire for­ces Joanna and Mort to hitch­hi­ke back to Joanna’s home, whe­re she dis­co­vers her hus­band chea­ting on her with one of his models. The two have a bit­ter fight, then Joanna takes Mort back to his hotel. Here, Sue con­fronts Mort about their dete­rio­ra­ting rela­ti­ons­hip, even­tual­ly announ­cing she’s lea­ving him to start a new life with Philippe. The next morning, Mort calls Joanna, hoping to see her again befo­re he has to return to New York, but she poli­te­ly decli­nes, des­pi­te har­bo­ring some affec­tion for Mort and doubts about her own mar­ria­ge’s toxicity.

Finally, Mort ima­gi­nes hims­elf play­ing chess with Death in a par­o­dy of Ingmar Bergman’s 1957 film The Seventh Seal. Death tells him that human life is ulti­mate­ly mea­ningless, but does­n’t need to be empty. In a par­ting word of advice, Death tells Mort that he will see him again in the future, but Mort might win some extra time by making sure to exer­cise and to avoid pro­ces­sed foods. As the fes­ti­val reaches its clo­sing day, Mort reflects upon his chan­ged cir­cum­s­tan­ces, pon­de­ring to go back to be a tea­cher, this time with a less rigid atti­tu­de towards art. Back in New York, he asks his the­ra­pist what he should do now.

Credits:

ES/US/IT 2020, 92 Min., engl. OmU,
Regie: Woody Allen
Kamera: Vittorio Storaro
Schnitt: Alisa Lepselter
mit: Elena Anaya, Louis Garrel, Gina Gershon, Sergi López, Wallace Shawn, Christoph Waltz

Trailer:
RIFKIN’S FESTIVAL | Offizieller Trailer | Deutsch
im Kino mit deut­schen Untertiteln
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Eine Sekunde

A film by Zhang Yimou. Starts July 14th at the fsk. In Mandarin with German subtitles.

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A pri­so­ner is sent to a labor camp during China’s Cultural Revolution. Using his wit, sole­ly to watch a news­re­el con­tai­ning a glim­pse of his daugh­ter, he escapes and heads for the cine­ma in a local town whe­re he hopes to find the film. But on the way he comes across a young vag­abond who runs away with the reel. Curiously, this enig­ma­tic object, which both covet, will beco­me the seed of an unex­pec­ted friendship.

Credits:

Yi miao zhong
CN 2019, 103 Min., man­da­rin OmU
Regie: Zhang Yimou
Schnitt: Yuan Du
Kamera: Zhao Xiaoding
mit: Zhang Yi, Liu Haocun, Fan We

Trailer:
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Filmpolska 2022

Vom 22. – 29. Juni fin­det die­ses Jahr das größ­te pol­ni­sche Filmfestival außer­halb Polens statt. Im fsk zei­gen wir alle sie­ben Wettbewerbsbeiträge und zwei Specials:

Bukolika / Bucolic Mutter und Tochter in einem bau­fäl­li­gen, abge­le­ge­nen Haus. Das gan­ze Leben mit sei­nen all­täg­li­chen Reibereien, klei­nen Ausbrüchen und grund­le­gen­den Entscheidungen.
PL 2021, R/B/K: Karol Pałka, 70 Min, OmeU,
24.06. 20:00 zu Gast: Karol Pałka


Inni lud­zie / Other People Wer ein­mal einen Text der Star-Autorin Dorota Masłowska gele­sen hat, weiß, was ihn/sie erwar­tet: eine wild schlin­gern­de Handlung, Gesellschaftskritik, mas­sen­haft pop-/kul­tu­rel­le Zitate, Blicke in die Abgründe urba­ner Milieus im frü­hen 21. Jahrhundert.
PL 2021, 106 min, OmdU, R/B: Aleksandra Terpińska, D: Jacek Beler, Sonia Bohosiewicz, Magdalena Koleśnik.
25.06. 20:00

Mosquito State In einem muti­gen, umwer­fend bild­ge­wal­ti­gen visu­el­len Experiment ver­knüpft Rymsza die Biografie eines Insekts mit der Zukunft der glo­ba­len Ökonomie. Er zeigt, dass neue Ansätze radi­kal gedacht wer­den müs­sen – und fin­det dafür radi­ka­le visu­el­le Mittel.
PL/USA 2020, 101 min, engl. OF m. poln. UT, R: Filip Jan Rymsza, D: Beau Knapp, Charlotte Vega, Jack Kesy u. a.
29.06. 20:00 zu Gast: Filip Jan Rymsza

Ostatni komers / Love Tasting Es ist Juni, nur noch weni­ge Tage blei­ben bis zum gro­ßen Abschlussball. Dann wer­den sich die Wege der Gymnasiastinnen tren­nen und es wird höchs­te Zeit sich zu ent­schei­den, wohin die Lebensreise gehen soll.
PL 2020, 85 min, OmeU, R/B: Dawid Nickel, D: Mikołaj Matczak, Michał Sitnicki, Sandra Drzymalska u. a.
28.06. 20:00 zu Gast: Dawid Nickel

Polaków port­ret włas­ny / Polish Self-Portrait Ein Dokumentar-Experiment, in denen die Protagonistinnen zu ihren eige­nen Kameraleuten wer­den und uns ein Jahr lang an ihrem Leben teil­ha­ben las­sen. Und das ist alles ande­re als ereig­nis­arm.
PL 2021, 115 min, OmeU, R: Maciej Białoruski, Jakub Drobczyński, Robert Rawłuszewicz, 26.06. 20:00 zu Gast: Maciej Białoruski & Jakub Drobczyński

Sonata / Sonate In der Provinz des Karpatenvorlandes wird bei Grzegorz schon früh Autismus dia­gnos­ti­ziert. Er spricht nicht, kap­selt sich von sei­ner Umwelt ab und vege­tiert man­gels Therapie vor sich hin – bis in sei­nem Haus ein Klavier auf­taucht.
PL 2021, 118 min, OmdU, R/B: Bartosz Blaschke, D: Michał Sikorski, Małgorzata Foremniak, Łukasz Simlat
27.06. 20:00 zu Gast: Bartosz Blaschke

Wszystkie nasze strachy / Alle unse­re Ängste Kunst und Gesellschaft sind für Daniel Rycharski untrenn­bar mit­ein­an­der ver­bun­den, doch mit sei­nen Skulpturen und Happenings eckt er bei den unmit­tel­ba­ren Nachbarn mas­siv an – vor allem, wenn er dar­in die Ausgrenzung von LGBT-Personen the­ma­ti­siert.
PL 2021, 91 Min, OmdU, R: Łukasz Ronduda, Łukasz Gutt, Kamil Grzybowski, D: Dawid Ogrodnik, Maria Maj, Andrzej Chyra.
23.06. 20:00 zu Gast: Łukasz Ronduda, Łukasz Gutt & Dawid Ogrodnik

Erotica 2022 In fünf Episoden ent­wer­fen Regisseurinnen nach Drehbüchern nam­haf­ter Schriftstellerinnen – unter ihnen die Nobelpreisträgerin Olga Tokarczuk und Bestseller-Autorin Joanna Bator – dys­to­pi­sche Visionen über eine nicht all­zu fern lie­gen­de Zukunft. PL 2021, 137 min, OmeU, R: Anna Kazejak, Anna Jadowska, Kasia Adamik, Jagoda Szelc, Olga Chajdas, D: Agata Buzek, Monika Pikuła, Agnieszka Żulewska,
26.06. 15:00 zu Gast: Anna Jadowska

Film bal­ko­no­wy / Der Balkonfilm Paweł Łoziński mon­tiert eine Kamera auf dem Balkon, kabelt ein Mikrofon an den Zaun und beginnt, den Passant*innen schein­bar plan­los und naiv Fragen nach ihrem Woher und Wohin zu stel­len. Von nun an legt er sich ein Jahr lang auf die Lauer.
PL 2021, 100 min, OmdU, R/B/K: Paweł Łoziński, S: Paweł Łoziński, Piasek & Wójcik 25.06. 15:00 zu Gast: Paweł Łoziński

Die Ruhelosen

A film by Joachim Lafosse. Starts July 14th at the fsk. In French with ger­man subtitles. 

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Leïla and Damien love each other deeply. Despite his bipo­la­ri­ty, he tri­es to con­ti­nue life with her, knowing that he may never be able to give her what she desires.

Credits:

Les Intranquilles
BE/LU/FR 2021, 118 Min., frz. OmU,
Regie: Joachim Lafosse
Kamera: Jean-François Hensgens
Schnitt: Marie-Hélène Dozo
mit: Leïla Bekhti, Damien Bonnard, Gabriel Merz Chammah, Patrick Descamps

Trailer:
The Restless / Les Intranquilles (2021) – Trailer (English subs)
im Kino mit deut­schen Untertiteln
nach oben

Der menschliche Faktor

A film by Ronny Trocker.

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Jan and Nina tra­vel with their two child­ren to their wee­kend home on the Belgian coast to find some peace and quiet. But this is rui­ned by a mys­te­rious break-in when the fami­ly arri­ves. Afterwards, Nina has a bloo­dy nose and Zorro, their son Max’s pet rat, has disap­peared. What hap­pen­ed? None of them is able to give the poli­ce a clear descrip­ti­on of the intru­ders. Back in Germany, the suc­cess­ful adver­ti­sing agen­cy that this bilin­gu­al cou­p­le runs tog­e­ther beco­mes the tar­get of a paint bomb attack. Jan had pre­vious­ly made the sin­gle-han­ded decisi­on to take on the elec­tion cam­pai­gn for a poli­ti­cal par­ty with popu­list ten­den­ci­es – a move that goes against ever­ything Nina holds dear.
Director Ronny Trocker’s second fea­ture film is a sub­t­le fami­ly dra­ma that smooth­ly tran­si­ti­ons bet­ween dif­fe­rent per­spec­ti­ves of an event. What took place and what it means is thus shown to us in diver­se ways and is con­ti­nu­al­ly expan­ded. As he zeroes in on the sta­te of mind of indi­vi­du­al fami­ly mem­bers, he reve­als the fra­gi­li­ty and poten­cy of indi­vi­du­al perception.

Credits:

DE, DK, IT 2022, 102 Min., frz., dt. OmU,
Buch & Regie: Ronny Trocker

Kamera: Klemens Hufnagl
Schnitt: Julia Drack
mit Mark Waschke, Sabine Timoteo, Jule Hermann, Wanja Valentin Kub

Trailer:
DER MENSCHLICHE FAKTOR Trailer HD
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Zum Tod meiner Mutter

A film by Jessica Krummacher. In German with English subtitles.

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When the film begins, it is all over. “We know it’s ter­mi­nal, and that’s all”, says Juliane of her mother Kerstin, who is in gre­at pain and about to die aged just 64. Although the young doc­tor she con­sults ack­now­led­ges on a per­so­nal level that ever­yo­ne has the right to mana­ge their own death, he none­theless reminds her that eutha­na­sia is still ille­gal in Germany. This is even more the case at the Catholic hos­pi­ce whe­re Kerstin is stay­ing. As rela­ti­ves come to say good­bye to her mother and the emo­ti­ons of memo­ries ming­le with the anti­ci­pa­ti­on of grief, Juliane finds herself having to do batt­le with time – unben­ding, apa­the­tic and mono­chro­me – and this is super­b­ly reflec­ted in the con­vul­si­ons of the hand­held came­ra in wide shots.
Based on per­so­nal expe­ri­ence, Jessica Krummacher’s second fea­ture film vivid­ly rela­tes the pain­ful sto­ry of losing a parent. There is no vio­lence or mor­bi­di­ty, rather the direc­tor descri­bes the most important of events via the smal­lest, most fra­gi­le of details – the exch­an­ging of words, texts and ten­der ges­tu­res that remain with us and get under our skin.

Credits:

DE 2022, 135 Min., OmenglU,
Buch & Regie: Jessica Krummacher
Kamera: Gerald Kerkletz,
Schnitt: Anne Fabini,
mit: Birte Schnöink, Elsie de Brauw, Christian Löber, Gina Haller, Nicole Johannhanwahr, Thomas Wehling, Susanne Bredehöft u. a.

Trailer:
Zum Tod mei­ner Mutter (offi­zi­el­ler Trailer)
nach oben

France

a Film by Bruno Dumont. In French with German subtitles. 

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Full of absurd humour, Bruno Dumont’s new film shows how quick­ly one can fall into the abyss – and re-emer­ge stron­ger. Paris: star jour­na­list France de Meurs (Léa Seydoux) has her hands full as a talk­show host, war repor­ter, mother and wife. After a car acci­dent in which she inju­res a scoo­ter dri­ver, her well-orde­red world gets out of con­trol. France fights the down­ward spi­ral, yet ends up losing almost ever­ything. But France de Meurs isn’t France de Meurs for not­hing. She starts again from squa­re one – this time with a healt­hy por­ti­on of iro­ny and a twink­le in he eye.

Credits:

FR 2021, 133 Min., frz. OmU
Regie: Bruno Dumont
Mit: Léa Seydoux, Blanche Garin, Benjamin Biolay, Emanuele Arioli, Gaëtan Amiel, Juliane Köhler, Jawad Zemar

Trailer:
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The United States of America

A film by James Benning. In English.

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James Benning’s first film cal­led The United States of America was a 1975 trip across the coun­try, cap­tu­ring its sce­ne­ry through a car winds­hield. This second one also criss­cros­ses the nati­on, but without a car, car­ving it up ins­tead into a seri­es of sta­tic shots of just under two minu­tes, one for each sta­te, pre­sen­ted alpha­be­ti­cal­ly, from Heron Bay, Alabama to Kelly, Wyoming. The names of the pla­ces are non­de­script, but the images atta­ched to them are anything but, imma­cul­ate­ly com­po­sed shots of land­s­cape, city­scape and the spaces in bet­ween. As we move from A to Z, the images coale­sce into a por­trait of today’s USA, tra­cing out its fault lines almost in pas­sing: fen­ced-off faci­li­ties, a river bed run­ning dry, fac­to­ries and refi­ne­ries, run-down streets and gas sta­ti­ons, a camp under a bridge. The past is the­re too, see­ping up through the songs and spee­ches that spo­ra­di­cal­ly pier­ce the back­ground noi­se or the motifs that evo­ke a who­le care­er; the clouds, trains and cabins are stand-ins for films, not just sta­tes. As always, there’s time for more abs­tract thoughts too: each image may stand for a sta­te, but repre­sen­ta­ti­vi­ty is slip­pe­ry. Which sta­te is more cine­ma­tic than the rest?

Credits:

USA 2022, 98 Min., eng­li­sche OmU
Regie: James Benning

Trailer:
The United States of America | Clip | Berlinale 2022
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Stand up my Beauty

A film by Heidi Specogna. In Amharic with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Nardos, an Azmari sin­ger from Addis Ababa, dreams of tel­ling sto­ries about the lives of ordi­na­ry peop­le through her music. In her search of sto­ries for her songs, she meets Gennet, a poet who lives on the streets with her child­ren. As Nardos puts the lives of Ethiopian women, their visi­ons and power at the cent­re of her crea­ti­on, we dive deeper and deeper into a rapidly chan­ging country.

Credits:

DE/CH 2021, 110 Min., amha­rische OmU
Regie: Heidi Specogna

Kamera: Johann Feindt
Schnitt: Kaya Inan

Trailer:
STAND UP MY BEAUTY – Offizieller Trailer (OV/d)
nach oben