Apichatpong Weerasethakul crosses the globe and changes languages in his latest feature – but Colombia turns out to be something like a spiritual double for his home turf of Thailand, as we’re in very familiar Apichatpong territory here. Speaking Spanish most of the time, Tilda Swinton is an ideal fit for the director’s imaginative universe and is perfectly attuned to his characteristic pacing and tone. She plays Jessica, an orchid specialist working in Medellín who finds herself haunted and baffled by strange banging sounds – are they in the world outside, or inside her head? Attempting to solve the riddle, she consults a sound specialist, who proves oddly elusive, then later heads off into the countryside, where she meets a man who – like the hero of Borges’s story Funes the Memorious – claims never to forget anything. With a surprising modern jazz interlude and an altogether breathtaking payoff, MEMORIA is a poetic inquiry into sound, time, and memory, and another of Apichatpong’s essays on our interaction with the strangeness of the natural world; it’s also, incidentally, a reminder that Colombia is traditionally the home of Latin American magical realism. Jeanne Balibar and ZAMA’s Daniel Gimenez Cacho co-star. (Jonathan Romney)
CO, TH, GB, MX, FR, CN, TW 2021, 136 Min., spanisch, englische OmU Regie : Apichatpong Weerasethakul Kamera: Sayombhu Mukdeeprom Schnitt: Lee Chatametikool mit: Tilda Swinton, Elkin Díaz, Jeanne Balibar, Juan Pablo Urrego, Daniel Giménez Cacho, Agnes Brekke
What and how much do we need for a good life? Not much, says Knut Thomsen from Dithmarschen Something to eat, something to drink, and the freedom to take time for whatever you’re doing at that moment. His wife Berit and him have opened a village store together – a 40-square-meter, fun-loving universe of regional vegetables, carefully arranged shelves, chitchat and cohesion. And an island in a sea of discounters that have long since displaced the small stores in the countryside. For two years, Antje Hubert and her team travel through northern German villages and tell stories of people who dare to try something new in a vacuum of traditions that have almost been lost.
DE 2021, 98 Min. Regie : Antje Hubert Kamera: Henning Brümmer Montage: Magdolna Rokob
Raf (Valéria Bruni Tedeschi) and Julie (Marina Foïs), a couple on the verge of breaking up, find themselves in an Emergency Department close to asphyxiation on the evening of a major ‚yellow vests‘ protest in Paris. Their encounter with Yann (Pio Marmaï), an injured and angry demonstrator, will shatter their certainties and prejudices. Outside, the tension escalates and soon, the hospital has to close its doors and the staff is overwhelmed. The night will be long…
La fracture FR 2021, 98 Min., frz. OmU Regie : Catherine Corsini Kamera: Jeanne Lapoirie Schnitt: Frédéric Baillehaiche mit : Valeria Bruni-Tedeschi, Marina Foïs, Pio Marmaï, Aissatou Diallo Sagna
KÖY (Turkish for village) is about the longing for home, for belonging and the freedom of the self. Three women from three generations are united by their Kurdish roots. All of them originate from villages in eastern Turkey and live in Berlin. Against the background of the political changes in Turkey, Serpil Turhan held intense discussions over a period of three years. KÖY captures each woman’s emotional world and shows fragments of the ordinary. Hêvîn, Saniye and Neno do not meet, but their stories are linked when it comes to self-determination and belonging.
DE 2021, 90 Min., Regie: Serpil Turhan, Kamera: Ute Freund Schnitt: Simon Quack & Eva Hartmann
Access to abortion, now considered an inalienable human right in the Western world, was only made possible by the courageous struggles carried out by women from the late 1960s onward. L’EVÉNEMENT takes place at the dawn of this crucial collective awareness, at a time when abortion was still considered a criminal offense in France. Audrey Diwan brings Annie Ernaux’s autobiographical novel (2000) to life on the screen with a sober, sensitive touch. Student Annie, the film’s heroine, is the prototype of a young woman determined to take her destiny into her own hands, to do what she wants with her body and consequently her life. Shifting with a dreamy fluidity between ensemble scenes – Annie lives in a student house and shares her everyday life with a large group of girls – and the solitary wanderings of her protagonist, the director subtly expresses the troubles and vital decisions that this increasingly lonely girl must contend with. In this constantly tense but never melodramatic chronicle, actress Anamaria Vartolomei – the film’s great revelation – embodies Annie’s fate with passionate determination. In the intensity of her gaze, we can sense the entire future of female emancipation. (Maria Giovanna Vagenas)
L‘ Evénement FR 2021, 100 min., frz. OmU Regie: Audrey Diwan Kamera: Laurent Tangy Schnitt: Géraldine Mangenot mit: Anamaria Vartolomei, Kacey Mottet-Klein, Luàna Bajrami, Louise Orry Diquero, Louise Chevillotte, Pio Marmaï, Sandrine Bonnaire, Anna Mouglalis, Leonor Oberson, Fabrizio Rongione
Previously acclaimed for his essayistic documentaries, Philip Scheffner has now ventured into fiction. Zohra, played by Rhim Ibrir, already featured in Scheffner’s HAVARIE (Berlinale Forum 2016), is living in a town in southwestern France. She has a severe case of scoliosis. Volker Sattel’s camerawork examines X‑rays, follows Zohra to the hospital and to an indoor swimming pool for rehab and sits right next to her or behind her on the bus. The images are crisp and flooded with summer light, the sense of place and space is so precise that we know each of the bus stops along her way: first Poste, then Piscine, then Europe. When Zohra’s condition improves, her residence permit is not renewed, so she has to go back to Algeria. Her case worker shrugs his shoulders: it’s out of his hands, he says, nothing he can do about it. A fade to black marks a turning point in the story, after which the heroine disappears from view. Scheffner continues to vary this game of the visible and the invisible for a while until dream and everyday reality fuse in the summer heat and glaring sunlight to create a shimmering narrative in the subjunctive. (Cristina Nord)
Als ihr Zuhälter und Vater ihres Kindes eine andere Frau heiratet, versucht Mamma Roma (Anna Magnani) die Vergangenheit hinter sich zu lassen und ein neues Leben anzufangen: Sie zieht mit ihrem 16-jährigen Sohn, der auf dem Land in einem Internat aufgewachsen ist, in eine bürgerliche Gegend und betreibt einen Gemüsestand. Das neue gemeinsame Leben entpuppt sich als spannungsgeladener als geplant, und plötzlich erscheint auch der Zuhälter Carmine wieder, inzwischen von seiner neuen Frau getrennt, und stellt sie vor ein Ultimatum.
Regie: Pier Paolo Pasolini Kamera: Tonino Delli Colli Musik: Carlo Rustichelli Mit: Anna Magnani, Ettore Garofolo, Franco Citti, Silvana Corsini, Luisa Loiano, Paolo Volponi etc.
Two women coincide in a hospital room where they are going to give birth. Both are single and became pregnant by accident. Janis, middle-aged, doesn’t regret it and is exultant. The other, Ana, an adolescent, is scared, repentant and traumatised. Janis tries to encourage her while they move like sleepwalkers along the hospital corridors. The few words they exchange in those hours will create a very close link between the two, which by chance develops and becomes complicated, changing their lives in a decisive way.
Madres paralelas Spanien 2021, 126 min., span. OmU Regie und Buch: Pedro Almodóvar Kamera: José Luis Alcaine Schnitt: Teresa Font mit: Penélope Cruz, Milena Smit, Rossy de Palma, Israel Elejalde, Aitana Sánchez Gijón, Julietta Serrano, Daniela Santiago
Rahim is in prison because of a debt he was unable to repay. During a two-day leave, he tries to convince his creditor to withdraw his complaint against the payment of part of the sum. But things don’t go as planned …
Y., an Israeli filmmaker in his mid-forties, arrives in a remote village at the far end of the desert to present one of his films. There he meets Yahalom, an officer for the Ministry of Culture, and finds himself fighting two losing battles: one against the death of freedom in his country, the other against the death of his mother.
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