A film by Claire Denis. 

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Sara and Jean have been in a loving, sta­ble rela­ti­onship for ten years. They are hap­py. He is her rock, someone she can hold on to. When they first met, Sara was in a rela­ti­onship with François, Jean’s best fri­end. One day, Sara sees François on the street. He does not see her, but she is over­whel­med by a sen­sa­ti­on that her life could sud­den­ly chan­ge. François does inde­ed get in touch with Jean to sug­gest that they work tog­e­ther again. Before long, things are in dan­ger of spi­ral­ling out of con­trol.
Avec amour et acharne­ment is Claire Denis’s third col­la­bo­ra­ti­on with acclai­med wri­ter Christine Angot, with whom she wro­te Un beau sol­eil inté­ri­eur, which also star­red Juliette Binoche. In a per­for­mance that is just as bra­ve and com­mit­ted, the actor pro­ves to be excep­tio­nal­ly sup­p­le as her body beco­mes the ter­rain for a cap­ti­vat­ing theat­re of emo­tio­nal oppo­si­tes. Eric Gautier’s pre­cise cine­ma­to­gra­phy shows us con­tras­ting images of fin­gers com­for­ta­b­ly intert­wi­ned, but also Sara’s enti­re body in for­ward moti­on, erupt­ing in deep, uncon­troll­able moans. Encircled by a wall of pas­sio­na­te fla­mes, Denis’s prot­ago­nists appear to be under sie­ge, see­mingly obli­vious to socie­ty and its inex­orable ten­den­cy to sepa­ra­te all things into oppo­sing categories.

Credits:

Avec amour et acharne­ment
FR 2022, 116 Min., frz. OmU
Regie: Claire Denis
Kamera: Eric Gautier
Musik: Tindersticks
Schnitt: Emmanuelle Pencalet, Sandie Bompar, Guy Lecorne
mit Juliette Binoche, Vincent Lindon, Grégoire Colin, Issa Perica, Bulle Ogier, Mati Diop

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A film by Tanja Egen. In German with English subtitles.

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Actor Nina tra­vels to her home town in Germany’s Ruhr regi­on for her grandmother’s fun­e­ral and dis­co­vers that her child­hood home has remain­ed vir­tual­ly unch­an­ged. The cana­ry still chirps in the living room, her mother still sits in the kit­chen pit­ting kilos of plums from the gar­den, and her father still occa­sio­nal­ly indul­ges in a whis­ky from the “bot­tom shelf next to the diges­tif glas­ses”. But when the date for the fun­e­ral is post­po­ned, ten­si­ons fla­re up again bet­ween the prag­ma­tic mother and her cos­mo­po­li­tan daugh­ter who now lives in a lar­ge European city and con­siders the offer of a role in German TV soap Traumschiff (Dreamboat) to be beneath her. And kind­ly old grand­ma is no lon­ger the­re to cushion such con­flicts.
Directed with gent­le humour, DFFB gra­dua­te Tanja Egen’s per­cep­ti­ve fea­ture debut is much more than just a tale of such clas­sic fami­ly pro­blems as repres­sed emo­ti­ons, things that remain uns­po­ken and a gro­wing sen­se of distance. Rich in detail, Geranien is an affec­tion­a­te obser­va­ti­on of the com­plex rela­ti­onships that exist bet­ween daugh­ters and mothers – no mat­ter how old a daugh­ter and a mother may be. Loss, it seems, is a uni­ver­sal feeling.

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DE 2023, 83 Min., Deutsch OmeU
Regie: Tanja Egen
Kamera: Claudia Schröder
Schnitt: Nicolas Dusollier
mit Friederike Becht, Marion Ottschick, Peer Martiny, Jasmina Musić, Stefanie Meier, Aleksandra Ćorović, Adi Hrustemović, Oliver Möller, Bruno Kirchhof

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A film by Laura Citarella. In Spanish with German subtitles.

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Laura Citarella makes a poignant and whim­si­cal ent­ry into the ranks of New Argentine cine­ma with her latest, expan­si­ve­ly nar­ra­ted fea­ture TRENQUE LAQUEN. Fans of Argentine direc­tors such as Mariano Llínas and Alejo Moguillansky, who share the film’s screen­wri­ting and editing cre­dits respec­tively, will reco­gni­ze the cha­rac­te­ristic rich­ly mean­de­ring sto­rytel­ling, which draws on mul­ti­ple quir­ky cha­rac­ters and a healt­hy dose of meta-humor and self-iro­ny. In Part I, Laura (Laura Paredes, who co-wro­te the script), the film’s prot­ago­nist, goes miss­ing, sen­ding her prag­ma­tic jil­ted boy­fri­end and her stone-faced, yet infi­ni­te­ly sen­si­ti­ve co-worker on a quest to find her. Laura is a woman of two-pron­ged pas­si­ons: a dedi­ca­ted plant rese­ar­cher, she beco­mes ent­ran­ced with a sto­ry of a high­ly ero­tic and tor­men­ted love affair bet­ween a young fema­le bio­lo­gist and a mar­ried man. TRENQUE LAQUEN I takes view­ers on a jour­ney through the epony­mous pro­vin­cial muni­ci­pa­li­ty sou­thwest of Buenos Aires, during which ordi­na­ry land­scapes, under­sta­ted pit­s­tops and situa­tions are tur­ned into the sta­ti­ons of an engros­sing mys­tery. At its heart lies the human year­ning for the extra­or­di­na­ry: an exis­ten­ti­al dis­co­very plot that could fore­ver chan­ge our lives. (Ela Bittencourt)

Credits:

AR/DE 2022, Teil 1: 128 Min./Teil 2: 132 Min., span. OmU,
Regie: Laura Citarella
Kamera: Agustín Mendilaharzu, Inés Duacastella, Yarará Rodriguez,
Schnitt: Miguel de Zuviría, Alejo Moguillansky,
mit Laura Paredes, Ezequiel Pierri, Rafael Spregelburd, Elisa Carricajo, Juliana Muras, Verónica Llinás, Cecilia Rainero u. a.

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A film by Jean-Luc Godard. In French with German subtitles.

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A 1963 French New Wave dra­ma film writ­ten and direc­ted by Jean-Luc Godard, based on the 1954 Italian novel Il disprez­zo (A Ghost at Noon) by Alberto Moravia.[6] It stars Brigitte Bardot, Michel Piccoli, Jack Palance, and Giorgia Moll.
Plot

Paul Javal, a young French play­w­right who has found com­mer­cial suc­cess in Rome, accepts an offer from vul­gar American pro­du­cer Jeremy Prokosch to rework the script for German direc­tor Fritz Lang’s screen adapt­a­ti­on of the Odyssey.

Paul’s wife, Camille Javal, joins him on the first day of the pro­ject at Cinecittà. As the first dis­cus­sions are com­ple­ted, Prokosch invi­tes the crew to join him at his vil­la, offe­ring Camille a ride in his two-seat sports­car. Camille looks to Paul to decli­ne the offer, but he sub­mis­si­ve­ly with­draws to fol­low by taxi, lea­ving Camille and Prokosch alo­ne. Paul does not catch up with them until 30 minu­tes later, explai­ning that he was delay­ed by a traf­fic acci­dent. Camille grows unea­sy, secret­ly doubting his hones­ty and suspec­ting that he is using her to cement his ties with Prokosch. Her mis­gi­vings are heigh­ten­ed when she sees Paul gro­pe Prokosch’s secre­ta­ry, Francesca. Back at their apart­ment, Paul and Camille dis­cuss the subt­le unea­si­ness that has come bet­ween them in the first few hours of the pro­ject, and Camille sud­den­ly announ­ces to her bewil­de­red hus­band that she no lon­ger loves him.

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Credits:

FR. 1963, 105 Min., frz. OmU
Regie: J.-L. Godard
Kamera: Raoul Coutart
mit: Michel Piccoli, Brigitte Bardot, Jack Palance, Fritz Lang, Francesca Vanini, Georgia Moll

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A film by Maysoon Pachachi. In Arabic with German subtitles

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In a resi­den­ti­al neigh­bour­hood in Baghdad, ordi­na­ry peo­p­le try to live their lives amidst the thre­at of unpre­dic­ta­ble violence.

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UK, FR, DE, KW 2021, 117 Min., arab.OmU
Regie: Maysoon Pachachi
Schnitt:Alexandre Donot
Kamera: Jonathan Bloom
mit: Darina Al Joundi, Zainab Joda, Basim Hajar, Labwa Arab, Amed Hashim

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A film by Corinna Belz. In German, English and French with German subtitles.

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Setting: a work­shop. When it comes to Thomas Schütte’s lar­ger than life sculp­tures, the work is hands on – and on an impres­si­ve sca­le. Sanding, sawing and mil­ling are the order of the day. The artist, with a ciga­ret­te han­ging out of his mouth, moulds the eyes of a figu­re with his own hands or some­ti­mes uses com­pu­ter simu­la­ti­on. Regardless of the machi­nery, tech­no­lo­gy or mate­ri­al, it beco­mes clear: art is hard work. Anja Klauck

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DE 2023, 94 Min., engl., franz. deut­sche OmU
Regie: Corinna Belz
Schnitt: Rudi Heinen
Kamera: David Wesemann, Jule Katinka v. Cramer

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A film by Mario Martone. In Italian with German subtitles.

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After 40 years of abs­cence, Felice returns to his home­town : Naples.
He redis­co­vers the places, the rules of the city and a past that haunts him.

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IT / FR 2022, 118 Min., ital. OmU
Regie: Mario Martone
Kamera: Carmine Guarino
Schnitt: Jacopo Quadri
mit: Pierfrancesco Favino, Francesco Di Leva, Tommaso Ragno

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A film by Daniel Goldhaber. In English with German subtitles.

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Based on the epony­mous novel by Andreas Malm, this thril­ler revol­ves around the sabo­ta­ge car­ri­ed out by a group of mili­tant eco­lo­gi­cal acti­vists. People are gathe­ring in the desert. They’re the­re to prepa­re a mis­si­on: some have alre­a­dy felt the effects of envi­ron­men­tal pol­lu­ti­on, others are frus­tra­ted cli­ma­te acti­vists for whom radi­cal methods appear the only means of pro­test­ing against the cli­ma­te cata­stro­phe. Their plan is to sabo­ta­ge a pipe­line to knock the oil busi­ness off balan­ce and thus ensu­re chan­ge, whe­re other forms of resis­tance have alre­a­dy exhaus­ted their useful­ness. The film is a varia­ti­on on a heist thril­ler and a psy­cho­lo­gi­cal stu­dy of acti­vists bet­ween per­so­nal con­cern, radi­cal­i­sa­ti­on and doubt.

Credits:

US 2022, 106 Min., engl. OmU,
Regie: Daniel Goldhaber
mit Ariela Barer, Kristine Froseth, Lukas Gage, Forrest Goodluck, Sasha Lane, Jayme Lawson , Marcus Scribner, Jake Weary, Irene Bedard, Olive Jane Lorraine 

Trailer:

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A film by İlker Çatak. In German, Turkish, Polish and English with German subtitles. 

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“What hap­pens in the staff room stays in the staff room,” says Carla Nowak in an inter­view with the school news­pa­per. Even if that is purely wishful thin­king for the tea­cher at this point. This is her first job, and she is com­mit­ted to tea­ching mathe­ma­tics and phy­si­cal edu­ca­ti­on to her class of seventh gra­d­ers. Things are going well and she is able to moti­va­te the­se ado­le­s­cents. Then a series of thefts occur at school and one of her stu­dents is quick­ly suspec­ted. An outra­ged Carla deci­des to get to the bot­tom of the mat­ter hers­elf, but the case is not so easy to sol­ve and has reper­cus­sions. Quickly decried as idea­li­stic by the rest of the staff, Carla finds hers­elf having to ans­wer to angry par­ents and media­te bet­ween quar­rel­ling stu­dents. The more she tri­es to do ever­y­thing right, the more she – and others – are pushed to their limits, and the enti­re school sys­tem is thrown off balan­ce.
İlker Çatak mis­ses not­hing in his bril­li­ant­ly obser­ved film. In his unspa­ring dra­ma, the school is a micro­c­osm in which the out­side world no lon­ger exists and not­hing remains pri­va­te. Das Lehrerzimmer is a stu­dy in power rela­ti­ons that demons­tra­tes how indi­vi­du­als are worn down bet­ween ent­ren­ched positions.

Credits:

DE 2023, 94 min, Deutsch,  Türkisch,  Polnisch,  Englisch OmU
Regie: İlker Çatak
Schnitt: Gesa Jäger
Kamera: Judith Kaufmann
mit: Leonie Benesch, Leonard Stettnisch, Eva Löbau, Michael Klammer, Anne-Kathrin Gummich

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A film by Christoph Hochhäusler. In German with English subtitles.

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Robert wears a lea­ther jacket and his hair rather long. He is by no means your avera­ge cop – at least not the kind to be found in most German movies. As an under­co­ver inves­ti­ga­tor, he is tas­ked with gai­ning the trust of a cri­mi­nal, Victor, by faking a rela­ti­onship with Leni who has been released on paro­le to play along. They mana­ge to make cont­act with Victor at a dance class: Robert and Leni – he gay, she trans – make a gre­at cou­ple and soon have the cri­mi­nal on the hook. Or is it he who has ent­rap­ped them? And ulti­m­ate­ly, are the­re not more fee­lings at play in this sup­po­sedly fake love affair? We would not be in a film by Christoph Hochhäusler if the­re were any simp­le ans­wers or truths. His cle­ver plot is pure oscil­la­ti­on, and the result is an inge­nious por­trait of the emo­tio­nal intellect that is as wit­ty as it is tou­ch­ing. The film is a (not enti­re­ly drug-free) trip along the director’s trade­mark Möbius strip of gen­re and auteur cine­ma. Added into the mix is one of the most beau­tiful­ly nost­al­gic sound­tracks of the year, a worse-for-wear roman­tic atmo­sphe­re with a Fassbinder-like charm and, final­ly, an ensem­ble cast that brea­thes life into all of pup­pet mas­ter Hochhäusler’s decep­ti­ve mano­eu­vres, death wish included.

Credits:

DE 2023, 123 min, Deutsch OmeU
Regie: Christoph Hochhäusler
Schnitt: Stefan Stabenow
Kamera: Reinhold Vorschneider
mit: Timocin Ziegler, Thea Ehre, Michael Sideris, Ioana Iacob, Rosa Enskat

Trailer:

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