A man and his friend occasionally steal babies from the church’s baby box and sell them on the adoption black market. However, when a young mother comes back after having abandoned her baby, she discovers them and decides to go with them on a road-trip to interview the baby’s potential parents.
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브로커 KR / JP 2022, 129 Min., korean. OmU Regie. Schnitt & Buch: Hirokazu Kore-Eda Kamera: Kyung-pyo Hong mit: Song Kang-ho, Gang Dong Won, Doona Bae, Lee Ji Eun, Lee Joo Young
French director Alice Diop has explored intrafamilial fractures in Afro-European families in a series of notable documentaries, most recently NOUS (2021). SAINTOMER, her first work of fiction, is co-written with acclaimed author Marie Ndiaye and continues this project within the framework of a cleverly mirrored courtroom drama – creating one of the most astonishing fiction debuts of the year. The starting point is a fait divers about a young woman from Senegal who abandoned her 15-month-old baby to the tide on a beach in northern France. On the one hand, Diop follows this woman’s trial in an emphatically sober tone, with the accused presenting herself neither as a victim of circumstances nor as a conscienceless perpetrator. This choice of staging already creates a sort of defamiliarization that makes clear attributions and simple answers difficult. However, the film turns out to be even more complex due to the fact that there is an outside perspective to boot: Rama, a young novelist working on the ancient Medea myth, is attending the trial. Rama is pregnant, but that’s not the only reason the woman’s story triggers doubts in her about her own self-image. Diop tells a story of cultural differences – not only between minorities and the majority society, but also within the diaspora. (Dominik Kamalzadeh)
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FR 2022, 123 Min., franz. OmU Regie: Alice Diop Kamera: Claire Mathon Schnitt: Amrita David Mit Kayije Kagame, Guslagie Malanda, Valérie Dréville, Aurélia Petit u. a.
Ma and Guiying lead lives that are similarly sheltered and difficult. He is a reticent farmer, the last of his family to remain unmarried; she is disabled and infertile, and long past what is considered to be marrying age in rural China. Their arranged marriage, uniting two people who are accustomed to isolation and humiliation, would appear to force them into a relationship that will make life worse for both of them. But instead, they seize the opportunity to rise above themselves and discover their shared destiny. They learn how to become close companions, how to speak up, how to care for each other and even how to smile. All this in spite of the hard work required of them by their quintessential bond with the land and the trials that await them on their common path. Against a backdrop of topics such as the exploitation of farm workers, forced urbanisation, the uprooting of traditions and poverty, Li Ruijun – who returns to his birthplace of Gaotai, in the northern province of Gansu – prioritises the characters’ worldview, with its inherent naivety and fragility, through an act of trust and love that infuses the film with subtle tenderness and profound humanity.
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CN 2022, 132 Min., chin. OmU Regie & Schnitt: Li Ruijun Kamera: Wang Weihua mit: Wu Renlin, Hai Qing
After a four-part cycle based on Theodor Fontane’s Wanderungen durch die Mark Brandenburg („Ramblings through Brandenburg”) (Oderland, Rhinland, Spreeland, Havelland), Bernhard Sallmann turns to urban landscapes for his latest documentary BERLINJWD (G 2022) – more precisely, he explores the area between the Ringbahn in Berlin and the city limits. At the end of the 19th century, the area was a destination „janz weit draußen” (“very far away”) for the „proletarian masses”. Now, there is nature, industrial zones, construction sites, historical buildings, newer buildings, and many indications of upheaval. The viewer’s eyes can take a delightful “stroll” through the observations, photographed precisely with a fixed camera and during the course of the changing seasons, while the ears hear the sound of the places. Sometimes people appear in the picture. Though there is no dialogue, this is not a silent Berlin film. The fact that names such as Spree-Teltow Pyramid, Arkenberge, Dichtervillen describe quite ordinary places is also very much Berlin. (Birgit Kohler)
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DE 2022, 74 Min, ohne Dialog, Regie & Kamera: Bernhard Sallmann Schnitt: Christoph Krüger.
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.
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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
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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?
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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.
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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)
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