A film by Maryam Touzani. In Arabic with German subtitles.

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In their fami­ly tail­or shop in the midd­le of a Moroccan old town, Halim and Mina craft cere­mo­ni­al caft­ans. Business is good, but when Mina falls ill and Halim can no lon­ger hand­le the ons­laught of cus­to­mers on his own, the mar­ried cou­ple deci­des to hire an assistant. The pre­sence of the attrac­ti­ve and reser­ved Youssef awa­kens long-sup­pres­sed fee­lings in Halim, which does­n’t go unno­ti­ced by Mina. As the rela­ti­onship bet­ween the two men inten­si­fies, Mina’s health dete­rio­ra­tes dra­sti­cal­ly. After ADAM, direc­tor Maryam Touzani returns to the ZFF with a bit­ters­weet dra­ma. Starring a ter­ri­fic Lubna Azabal, LE BLEU DU CAFTAN is a sen­su­al film about love as the dri­ving force of our existence.

Credits:

Le Bleu du Caftan
FR/MR/BE/DK 2022
124 Min., arab. OmU
Regie: Maryam Touzani
Kamera: Adil Ayoub
Schnitt: Nicolas Rumpl
mit: Lubna Aznabal, Saleh Bakri, Ayoub Missioui

Trailer:

nach oben

In German.

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Kim has her music. Kim has her dogs. Kim has her faith. Kim strug­gles, every day: with anxie­ty, for a bit of nor­ma­li­ty, to stand on her own two feet. Kim’s mother, Lore, was depor­ted to Auschwitz at the age of six. To this day, Lore is a DP, a dis­pla­ced per­son. Lore has her index cards. From mor­ning till night, she tran­scri­bes artic­les from the dai­ly news­pa­per, archi­ving them in boxes and bas­kets. All her life, Lore has been silent: about her mother, about the hiding place whe­re she sur­vi­ved, about Tom, her son, Kim’s brot­her, who took his own life. Kim ins­tead wants to talk: about her child­hood with Lore, about Tom, about the scar­red lives they both lead. There is a lot of anger, a lot of strength, and a love bet­ween mother and daugh­ter that was always the­re but could not be expressed.

Credits:

DE 2022, 81 Min.
Regie: Sandra Prechtel
Kamera: Susanne Schüle
Schnitt: Andreas Zitzmann

Trailer:

nach oben

A film by Angela Schanelec. In Greek and English with German and English subtitles.

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The myth of Oedipus is the core of this mas­terful pie­ce of ellip­ti­cal sto­rytel­ling in which every detail, no mat­ter how small, beco­mes a sign – or not. This is a film that trans­ports us from the moun­ta­ins and bea­ches of Greece to the lakes of Berlin, and from some­time in the 1980s to the pre­sent day. In bet­ween, the­re is one date that can be ascer­tai­ned: 2006 (fea­turing foot­ball and two decisi­ve minu­tes for Italy).
A new­born baby boy is res­cued from a storm one night. Paramedic Elias and his wife take him in, name him Jon, and rai­se him. As a young man, Jon is atta­cked and com­mits mans­laugh­ter. The vic­tim is none other than … During his inc­ar­ce­ra­ti­on, Jon and a fema­le pri­son offi­cer named Iro beco­me a cou­ple. The tape recor­der is play­ing baro­que music: the play­list includes Monteverdi, Bach, Pergolesi. The aes­the­tics of this music deve­lop into the film’s informing prin­ci­ple, reflec­ting events in a lucid­ly enig­ma­tic and con­cre­te­ly abs­tract way that revels in its own austeri­ty. In Angela Schanelec’s baro­que-post­mo­dern cine­ma, for­mu­las from the doc­tri­nes of the affec­tions and figu­res app­ly. An addic­ti­ve intellec­tu­al-sen­su­al chall­enge that allows us to blind­ly see.

Berlinale 2023 – Competition

Credits:

Deutschland / Frankreich / Serbien 2023, 108 Min., Griechisch, Englisch OmU
Regie, Buch & Schnitt: Angela Schanelec
Kamera: Ivan Marković
mit Aliocha Schneider, Agathe Bonitzer, Marisha Triantafyllidou, Argyris Xafis, Frida Tarana

Trailer:

nach oben

A film by Christian Petzold. In German with English subtitles.

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Leon and Felix’s plan was to spend the sum­mer tog­e­ther in a holi­day home on the Baltic coast. They wan­ted to be the­re as fri­ends but also to work – one on his second book, the other assembling his art port­fo­lio. But Nadja and Devid are also the­re, and they bring lots of posi­ti­ve vibes with them. Four young peo­p­le expe­ri­men­ting with love, even though this does not come easy to Leon. His unfi­nis­hed manu­script haunts him whe­re­ver he goes, whe­ther he is at the sum­mer­house or the beach. The others’ good mood often cau­ses his to plum­met. A visit from his publisher is immi­nent. But, as the lat­ter arri­ves in his nif­ty small car, the forest beg­ins to bla­ze. It rains ash, the sky turns red, and a rela­ti­onship-dra­ma that mer­ges phy­si­cal inten­si­ty and artis­tic sub­li­ma­ti­on takes a turn into a new dimen­si­on.
This second part of Christian Petzold’s tri­lo­gy begun in 2020 with Undine, is about not being able to sleep and wan­ting to love; about wri­ting and being read; about being in the world and yet pos­si­bly allo­wing life to slip by. A film that is sus­pen­ded bet­ween sym­bo­lism and rea­lism, both fun­ny and deep­ly tragic.

Berlinale 2023 – Competition

Credits:

DE 2023, 103 Min., deut­sche OmeU
Regie: Christian Petzold
Kamera: Hans Fromm
Schnitt: Bettina Böhler
mit Thomas Schubert, Paula Beer, Langston Uibel, Enno Trebs, Matthias Brandt

Trailer:

nach oben

Dieses Jahr wird bei uns mal wie­der ein roter Teppich vor der Tür lie­gen, denn wir haben die „Berlinale goes Kiez“ Sektion bei uns zu Gast. Wann? Am 22.2. Es gibt drei Filme die jeweils im bei­den Sälen par­al­lel gezeigt wer­den. Tickets bekommt man bei der Berlinale und ein paar Karten dür­fen wir auch im Kino ver­kau­fen. Wir sind gespannt, aber nicht ver­ges­sen: Das Kino gibt es auch ohne Berlinale.
Hier die Filme, die für uns aus­ge­wählt wurden:

Forum:
W Ukrainie – In Ukraine
Zerbombte Straßen, zer­stör­te rus­si­sche Panzer, Abendessen im U‑Bahn-Bunker: Bild für Bild tau­chen Tomasz Wolski und Piotr Pawlus unter die Oberfläche repro­du­zier­ba­rer Kriegsbilder – hin­ein in die Realität, in der das Land seit dem 24. Februar 2022 lebt.
Piotr Pawlus, Tomasz Wolski ∙
Polen, Deutschland ∙ Dokumentarische Form ∙ 85‚ ∙ Ukrainisch, Russisch
22.02. 15:30 fsk Kino (mehr)

Panorama:
Silver Haze
Franky ist Krankenschwester und kommt aus einer rau­en Gegend in Ostlondon. Als sie sich Hals über Kopf in ihre Patientin Florence ver­liebt, ver­än­dert das ihr Leben tief­grei­fend. Ein Film über Vergangenheitsbewältigung, sozia­le Herkunft und die Suche nach Zugehörigkeit. Sacha Polak ∙ Niederlande, Vereinigtes Königreich ∙ 103‚ ∙ Englisch 22.02. 18:00 fsk Kino (mehr)

Berlinale Classics:
Mapantsula
Ein klei­ner Ganove, der sich in Soweto durch­zu­schla­gen ver­sucht, gerät in den Sog der Anti-Apartheid-Bewegung. Ein län­ge­rer Gefängnisaufenthalt und der Druck der Polizei, Bürgerrechtler zu denun­zie­ren, mün­den in einen poli­ti­schen Bewußtwerdungsprozeß. An Originalschauplätzen gedreht, rückt der doku­men­ta­ri­sche Spielfilm auf span­nend-unter­halt­sa­me Weise die Rassendiskriminierung in ihrer all­täg­li­chen und all­ge­gen­wär­ti­gen Form in den Blickpunkt; ein Plädoyer gegen die Amerikanisierung des Landes und für bes­se­re Lebensbedingungen der Schwarzen.
Oliver Schmitz ∙ Südafrika, Australien, Vereinigtes Königreich ∙ 1988 ∙ 104‚ ∙
Englisch, Zulu, Afrikaans 22.02. 21:00 fsk Kino (mehr)

A film by Katharina Woll. In German with English subtitles.

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An incisi­ve psy­cho­lo­gi­cal pro­fi­le that’s fil­led with subt­le ten­si­on but never loses its deli­ca­cy and grace.

Ina is a the­ra­pist, the mother of a rebel­lious teenage girl, and a part­ner to a man who has always put his own care­er first. She puts everyone’s needs ahead of her own until one hot sum­mer day, when her self-cen­te­red mother cele­bra­tes her 70th bir­th­day, some­thing hap­pens that will chan­ge everything.

Credits:

DE 2022, 80 Min., deut­sche OmeU
Regie: Katharina Woll
Kamera: Matan Radin
Schnitt: Kai Minierski
mit: Anne Ratte-Polle, Lea Drinda, Ulrike Willenbacher, Urs Jucker, Hassan Akkouch

Trailer:

nach obenAlle wollen geliebt werden

A film by Hirokazu Kore-Eda. In Korean with German suntitles.

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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.

Credits:

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

Trailer:

nach oben

A film by Alice Diop. In French with German subtitles

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French direc­tor Alice Diop has explo­red intra­fa­mi­li­al frac­tures in Afro-European fami­lies in a series of nota­ble docu­men­ta­ries, most recent­ly NOUS (2021). SAINT OMER, 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)

Credits:

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.

Trailer:

nach oben

A film by Li Ruijun. In Chisese with German subtitles.

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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.

Credits:

CN 2022, 132 Min., chin. OmU
Regie & Schnitt: Li Ruijun
Kamera: Wang Weihua
mit: Wu Renlin, Hai Qing

Trailer:

nach oben

A film by Bernhard Sallmann. On January 21st and 22nd at the fsk. No dialogue

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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 BERLIN JWD (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)

Credits:

DE 2022, 74 Min, ohne Dialog,
Regie & Kamera: Bernhard Sallmann
Schnitt: Christoph Krüger.

Trailer:

nach oben