Justine is a love story set against the backdrop of Brighton and tracked by a violent and puzzling tale of a young woman’s descent into self-destruction. She meets Rachel and love takes over.
Credits:GB 2020, 82 Min., engl. OmU
Regie: Jamie Patterson
Kamera: Paul O’Callaghan
Schnitt: David Fricker
mit: Tallulah Rose Haddon, Sophie Reid, Sian Reese-Williams
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Michael Krüger was not only one of the most important publishers and literary mediators in Germany and worldwide – first and foremost he is a poet. We have an appointment in the unofficial spaces where poems and an unconventional, fateful life meet. “How a poem is really made? If you knew, no more poems would be created. That’s very clear to me.”
Credits:DE 2022, 91 Min.,
Regie, Kamera und Schnitt: Frank Wierke
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Bewildering, amusing, insightful: Anke Engelke acts out eight authentic interviews, assembling them into a gigantic mosaic about motherhood.
This film tells of the joy and doubt, the power and powerlessness, the anger and love involved in motherhood. It is at its heart a documentary project: eight women aged between 30 and 75 talk about their lives as mothers. What all these women have in common is their realization that motherhood is a highly ambivalent experience. For the film, these documentary statements are brought together visually in the form of a fictional character portrayed by Anke Engelke. The actress combines the women’s reports into a laconic narrative about the everyday life of a mother.
Credits:DE 2022, 88 Min., deutsche OmeU
Regie & Buch: Carolin Schmitz
Kamera: Reinhold Vorschneider
Schnitt: Stefan Oliveira-Pita, Annett Kiener
mit: Anke Engelke
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The German Federal Republic’s 1961 recruitment agreement with Turkey not only brought “guest workers” to Germany but also their music. Cem Kaya’s dense documentary film essay is a tutorial in Turkish-German recent history that tells a tale of assembly line jobs, homesickness and family reunification, the bazaar in the elevated railway station at Berlin’s Bülowstraße, xenophobia and racism, the wistful songs of the early years and the hip-hop of the post-reunification period. These are the stories shared by musicians beginning with Metin Türköz and Yüksel Özkasap, to the psychedelic Derdiyoklar and the chart-topping rapper Muhabbet. Their music has evolved a long way from that of German bands and has always developed out of the Turkish community and its desires. This is the world of Radio Yilmaz, various music cassette labels, protest rocker Cem Karaca’s German exile, and wedding bands that also sing in Kurdish and Arabic to meet the demands of the market. Extensive archival research and an interest in Turkish popular culture are recurring themes in Cem Kaya’s work. With Aşk, Mark ve Ölüm, he has created a rhythmic and vividly narrated cinematic encyclopaedia of Turkish music in Germany.
Credits:Aşk, Mark ve Ölüm
DE 2022, 96 Min., Türkisch, Deutsch, Englisch OmU
Regie: Cem Kaya
Buch Cem Kaya, Mehmet Akif Büyükatalay
Koautor*in Ufuk Cam
Kamera: Cem Kaya, Mahmoud Belakhel, Julius Dommer, Christian Kochmann
Schnitt: Cem Kaya
mit İsmet Topçu, Ömer Boral, Yüksel Ergin, İhsan Ergin, Metin Türköz, Adnan Türköz, Yüksel Özkasap, Cevdet Yıldırım, Ercan Demirel, Cavidan Ünal, Ata Canani, Cem Karaca, Betin Güneş, Aykut Şahin, Fehiman Uğurdemir, Cengiz Öztunç, Dede Deli, Mustafa Çetinol, Erdal Karayağız, İzzet Nihat Yarsaloğlu, Hatay Engin, Yasin Kıran, Aytaç Kıran, Serdar Saydan, Serkan Kaynarcalı, Rüştü Elmas, Mustafa Deniz, Oktay Vural, Orhan Amuroğlu, Ümit Gücüyener, Sultan Korkmaz, Bekir Karaoğlan, Ümit Çağlar, Ali Ekber Aydoğan, Killa Hakan, Kabus Kerim, Derya Yıldırım, Tümay Koyuncuoğlu, Rossi Pennino, Kutlu Yurtseven, Erci E., Alper Ağa, Boe B., Tahir Çevik, Volkan Türeli, Nellie, Muhabbet, Aziza A., İmran Ayata, Bülent Kullukcu, Ibrahim Ertalay, Ilkay Kökel, Mehmet Yozgut
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Fahrije’s husband has been considered missing since the end of the war – like so many other men from her village in rural Kosovo. When she decides one day to get her driver’s license so she can sell her homemade sauces in town, she immediately faces opposition from her conservative, patriarchal village. Fahrije, however, is not intimidated and soon other women dare to help her in this revolutionary venture. The film, which won three awards at Sundance, tells the story of a daring woman who, against all the odds, builds a new existence for herself and other women.
Credits:XK, CH, AL, MK 2021, 84 Min., albanische OmU
Buch & Regie: Blerta Basholli
Kamera: Alex Bloom
Schnitt: Félix Sandri, Enis Saraçimit: Yllka Gashi, Çun Lajçi, Aurita Agushi, Kumrije Hoxha, Adriana Matoshi
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The title refers to the eponymous 1937 poem by Else Lasker-Schüler, in which the poet writes that “what once was: love” can be found at the cinema. Two decades on from this, it was a love of cinema that brought together two people who significantly expanded – today one might say, diversified – the film history of post-war Germany, encompassing both the way films are viewed as well as the discourse surrounding the medium: Erika and Ulrich Gregor.
Alice Agneskirchner’s documentary follows various paths to get right up close to the founders of Arsenal and the International Forum of New Cinema: on the one hand via the eventful life of the couple, who have been married for over 60 years; on the other via those who have accompanied them along the way, including such prominent figures as Jutta Brückner, Wim Wenders and Jim Jarmusch. The films of which the Gregors are particularly fond and to which they gave their full backing are also central, as the duo becomes reacquainted with Claude Lanzmann’s Shoah, István Szabó’s Apa and Helke Sander’s Die allseitig reduzierte Persönlichkeit – Redupers. This is not only a film about love and cinema but also a piece of West German history.
Credits:DE 2021, 155 Min.
Regie & Buch: Alice Agneskirchner
Kamera: Jan Kerhart
Schnitt: Silke Botsch
mit Erika Gregor, Ulrich Gregor
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As with the rest of his oeuvre, duplication and mirroring of female characters once again informs Ryusuke Hamaguchi’s latest work, Guzen to sozo. It would not be out of place to make a literary analogy and, if one were to regard his two previous films (Happy Hour and Asako I & II) as novels, this new work could be described as a collection of short stories. The film’s recurring rhythm amplifies this effect. The three episodes, which each revolve around a woman, are in turn divided into three movements, like a piece of music. They tell stories of an unexpected love triangle, a failed seduction trap, and an encounter that results from a misunderstanding. The fragmentation serves to emphasise rather than undermine the exquisitely organic storytelling and mise en scène. Although most of the action takes place in a single space and involves just two actors, not once does it feel like filmed theatre. The secret lies not only in the writing, but also in the notion of a more complex temporality in each episode that flirts with science fiction in the final instalment. The moments we witness are crystallised into touching universal destinies marked by choices, regrets, deception and coincidences. They are the film’s true protagonists.
Credits:JP 2021, 121 Min., jap. OmU
Regie & Schnitt: Ryusuke Hamaguchi
Kamera: Yukiko Iioka
mit: Kotone Furukawa, Kiyohiko Shibukawa, Katsuki Mori, Fusako Urabe, Aoba Kawai, Ayumu Nakajima, Hyunri, Shouma Kai
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Clara is 39 and is taking a PhD in philosophy. She lives in a Kreuzberg flat share while her teenage daughter lives with her ex. Clara is having a secret relationship with one of her students. Her thesis supervisor, the strong and independent Margot, provides her with professional encouragement. When Clara visits her home in provincial Mecklenburg-Vorpommern for her mother’s birthday, she finds herself struggling with the pride and expectations but also with the rejection of her family and former companions. She begins to realise just how far she has moved away from her roots in her search for a self-determined life. But perhaps she had to move away. Because one’s perception of home can change.
Annika Pinske’s quiet drama is a study in familiarity and distance, liberty and compulsion, the countryside and the city. Sensitive, nuanced performances from an outstanding cast with an assured command of the local dialects allow the audience to experience the atmospheres of both Berlin’s university milieu and the rural family get-together.
Credits:DE 2022, 89 Min.
Regie & Buch: Annika Pinske
Kamera: Ben Bernhard
Schnitt: Laura Lauzemis
mit Anne Schäfer, Anne-Kathrin Gummich, Judith Hofmann, Marcel Kohler, Max Riemelt, Emma Frieda Brüggler, Thomas Bading, Christine Schorn, Sandra Hüller, Alireza Bayram
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Muzamil was only a newborn when a prophecy foretold his death at 20. His father is unable to live with this curse and abandons his family. Long resigned to his fate, the young man starts to question his preordained death when he meets Suleiman, a cameraman who has returned to the village of his birth. The Sudanese director won the Lion of the Future at the 2019 Mostra di Venezia.
Credits:SD 2019, 105 Min., OmU
Regie: Amjad Abu Alala
Schnitt: Heba Othman
Kamera: Sébastien Goepfert
mit: Mustafa Shehata, Islam Mubarak, Mahmoud Elsaraj, Bunna Khalid
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„The Good Boss” takes place in and around the Blancos Básculas factory, where all things must be in balance at all times. After all, they manufacture scales of all shapes and sizes. There, the seemingly benevolent boss, Bardem’s Blanco, is preparing his workforce for an upcoming inspection by a group visiting local businesses to select one for a prestigious prize. Tensions begin to mount, however, when recently fired employee Jose shows up with his two children and begins making demands for the reinstatement of his employment. When Blanco’s management team refuses, the employee begins a one man crusade to discredit Blanco and prevent him from winning the much-coveted award.
Credits:El buen patrón
ES 2021, 120 Min., span. OmU
Drehbuch und Regie: Fernando León de Aranoa
Schnitt: Vanessa Marimbert
mit: Javier Bardem, Manolo Solo, Almudena Amor, Óscar de la Fuente, Sonia Almarcha
Kamera: Pau Esteve Birba
Trailer:nach oben
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