Conservative politician Mathilda is actually in favor of strictly guarded EU external borders. Things become all the more difficult for her when she is asked to help her old friend Richard accommodate Malik, who has illegally entered the country from Morocco. Mathilda’s second-generation assistant Amina also questions her own position when Malik becomes the target of a terrorist investigation following a bomb attack.
Conservative politician Mathilda is actually in favor of strictly guarded EU external borders. Things become all the more difficult for her when she is asked to help her old friend Richard accommodate Malik, who has illegally entered the country from Morocco. Mathilda’s second-generation assistant Amina also questions her own position when Malik becomes the target of a terrorist investigation following a bomb attack.
A therapist whose interests lie in alternative ways to help the sick and infirm is forced to balance the demands of her professional life with those of her ageing parents and older brother, in Tim Ellrich’s sensitive but uncompromising drama.
Holle works as a spiritual healer, tending to clients with serious illnesses and chronic conditions. One of four siblings, she devotes much of her time to caring for her ageing parents, a commitment that strains her relationship with her partner. When her mother suffers a fall and is hospitalised, Holle faces mounting challenges, particularly in relation to her brother Sven, who has schizophrenia and has lived a secluded life in their parents’ attic for years.
Inspired by filmmaker Tim Ellrich’s own family experiences and shot on location at his childhood home, Im Haus meiner Eltern is an incisive exploration of the toll caregiving takes on families. Filmed in stark black and white, its visuals capture both the exhaustion of caregiving and the claustrophobia of lives bound by duty. Ellrich avoids easy judgments, instead offering a thoughtful reflection on how society treats the elderly and infirm and the friction these responsibilities create within families – from those who shoulder the burden to those who keep their distance. With empathy and an understated approach, Im Haus meiner Eltern, examines the unspoken tensions and quiet sacrifices that define family life under pressure.
Vanja Kaludjercic
Credits:
DE 2025, 95 Min, Regie: Tim Ellrich Kamera: Konstantin Pape Schnitt: Tobias Wilhelmer mit: Jenny Schily, Ursula Werner, Manfred Zapatka und Jens Brock
The film is far from a straightforward portrayal of its subject. It doesn’t just focus on good and noble feelings, nor does it fall into the sort of simplistic binaries that set the “purity” of people with disabilities against the cynicism of society. Simón is deceitful, more than happy to lie and unafraid to get his friends into trouble, yet they never judge or punish him nor label him as problematic. At home, where his mother’s goodwill has been exhausted, a sense of apathy has set in that threatens to usurp the obvious love she feels for him. Luis’ film smartly refrains from judging her, as she seems unable to find a solution to her son’s unexplained antics; she only watches in surprise as Simón speaks less and less, imitates physical tics and retreats into his own personal version of disability. Engrossing, and narrated with great intelligence and subtlety, the film layers nuance upon nuance in its suitably ambivalent portrait of the titular character. With another enigmatic, yet empathetic performance by up-and-coming actor Lorenzo Ferro, SIMÓNDELAMONTAÑA is a remarkable debut feature that dares to explore the murky waters of human behaviour. (Diego Lerer)
Two chimney sweeps living in monogamous, heterosexual marriages both end up in situations that challenge their views on sexuality and gender roles. One has a sexual encounter with another man, without himself experiencing it either as an expression of homosexual longings or infidelity. The other suddenly experiences nocturnal dreams in which he is seen as a woman. This confuses and disturbs him. He begins to wonder to what extent the gaze of others shapes his personality and whether there are aspects of himself that he has suppressed, thereby limiting himself. In Dag Johan Haugerud’s Sex, the chimney is swept before we get down to business. Whether hetero or homo, witty wordplay challenges normative images of men and society in modern urban Norway.
Credits:
OT: Sex DE 2023, 90 Min., norw. OmU Regie: Dag Johan Haugerud Kamera: Cecilie Semec Schnitt: Jens Christian Fodstad mit: Jan Gunnar Røise, Thorbjørn Harr, Siri Forberg, Birgitte Larsen
At 17, Johanne falls head over heels in love with her female teacher. In an attempt to capture this first crush, she pours her experiences onto paper with raw honesty. When her mother and grandmother discover her writings, their initial shock at the intimate descriptions gives way to admiration for their literary merit. The two older women begin to reflect on their own love lives, their pleasures and missed opportunities, and are reminded of the overwhelming sensation of first love; and of the longing for something more. Johanne’s grandmother, an established poet herself, feels both pride and unease at her granddaughter’s natural talent. But questions linger: What truly happened between Johanne and her teacher? Where does reality end and fiction begin? And should these deeply personal writings ever find their way to publication?
Golden Bear – Berlinale 2025
Credits:
NO 2024, 110 Min., norwegische OmU Regie: Dag Johan Haugerud Kamera: Cecilie Semec Schnitt: Jens Christian Fodstad mit: Ella Øverbye, Selome Emnetu, Ane Dahl Torp, Anne Marit Jacobsen
A Utopian design for sexuality, relationships and love in the 21st century. Marianne is a doctor based in Oslo. She longs for closeness with other people, but she’s fed up with her sex life being constantly analysed and questioned by the expectations of others. One evening, she meets Tor, a nurse and colleague, on a ferry. He tells her of the ferry trips he takes when he can’t sleep and his chance meetings with other men. Curious, Marianne starts exploring other designs for relationships, off the beaten track.
Credits:
Love NO 2024, 119 Min, Norwegische OmU Regie: Dag Johan Haugerud Kamera: Cecilie Semec Schnitt: Jens Christian Fodstad, mit: Andrea Bræin Hovig, Tayo Cittadella Jacobsen, Marte Engebrigtsen, Lars Jacob Holm, Thomas Gullestad
A few months after his release from Auschwitz and still in his striped jacket, Yechiel De-Nur sat down and started writing. After two weeks, he was reborn as Ka-Tzetnik, or “the man from the camps.” While the books that he wrote were translated into 32 languages and sold millions, the author himself hid behind the pseudonym. It wasn’t until the trial of Adolf Eichmann in 1961 that his true identity was revealed during his revelatory testimony where he described Auschwitz as “the other planet:” a place outside of human judgment. Years later, undergoing an experimental LSD treatment for trauma, he revisits his experience, imagining himself as an SS officer, and that changes everything. In this affecting documentary, the life of the mysterious and elusive author and his views on human behavior are examined in depth.
Credits:
The Return from the Other Plaent DE/IL 2023, 81 Min., englisch, hebräisch, jiddisch, niederländischOmU Regie: Assaf Lapid Kamera: Talia Tulik Galon, Jörg Adams Schnitt: Nohar Avigail Haseen, Assaf Lapid
Ahead of her time: an Italian story, which resonates today, about a brave woman’s struggle against patriarchal values.
Defying the social norm in 1960s Sicily, Lia wants to take charge of her life. When she rejects Lorenzo, the son of a local businessman, he uses brutal means to kidnap her. To save her honor, Lia must consent to marrying the man who raped her. Instead, though, she embarks on an unprecedented legal battle for self-determination.
Credits:
IT 2023 – 102 Min. Italienische OmU Regie: Marta Savina Kamera: Francesca Amitrano Schnitt: Paola Freddi
Köln 75 tells the true story behind one of the best-selling jazz records of all time, Keith Jarrett’s “Köln Concert” from 1975. The event almost failed to happen – before a formidable German teenager, the 18-year-old Vera Brandes, pulls out all the stops and arranges the conditions for the creation of a masterpiece. Vera, who is still at school when she starts producing and promoting concerts in Cologne, puts everything on the line to stage this show. It looks like all the odds are against her, but Vera believes in the power of music and has never seen anyone play in the way that Keith Jarrett plays.
Credits:
DE/BE/PL 2024, 115 Min., Regie: Ido Fluk Kamera: Jens Harant Schnitt: Anja Siemens mit Mala Emde, John Magaro, Michael Chernus, Alexander Scheer, Ulrich Tukur
Sisters July and September are very close, but very different: September is protective and distrustful; July, open and curious. An incident in school forces them to flee to an old holiday home with their mum, where a series of surreal events cause their bond to shift in ways July cannot comprehend.
Wir verwenden Cookies, um unsere Website und unseren Service zu optimieren.
Funktionale Cookies
Always active
Die technische Speicherung oder der Zugang ist unbedingt erforderlich für den rechtmäßigen Zweck, die Nutzung eines bestimmten Dienstes zu ermöglichen, der vom Teilnehmer oder Nutzer ausdrücklich gewünscht wird, oder für den alleinigen Zweck, die Übertragung einer Nachricht über ein elektronisches Kommunikationsnetz durchzuführen.
Vorlieben
Die technische Speicherung oder der Zugriff ist für den rechtmäßigen Zweck der Speicherung von Präferenzen erforderlich, die nicht vom Abonnenten oder Benutzer angefordert wurden.
Statistiken
Die technische Speicherung oder der Zugriff, der ausschließlich zu statistischen Zwecken erfolgt.Die technische Speicherung oder der Zugriff, der ausschließlich zu anonymen statistischen Zwecken verwendet wird. Ohne eine Vorladung, die freiwillige Zustimmung deines Internetdienstanbieters oder zusätzliche Aufzeichnungen von Dritten können die zu diesem Zweck gespeicherten oder abgerufenen Informationen allein in der Regel nicht dazu verwendet werden, dich zu identifizieren.
Marketing
Die technische Speicherung oder der Zugriff ist erforderlich, um Nutzerprofile zu erstellen, um Werbung zu versenden oder um den Nutzer auf einer Website oder über mehrere Websites hinweg zu ähnlichen Marketingzwecken zu verfolgen.
![Klandestin | Trailer [HD]](https://fsk-kino.peripherfilm.de/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FXL3n6p2UoM0%2F0.jpg)
