A film by Emin Alper.

Here on „Video on demand”:

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The three sis­ters Reyhan (20), Nurhan (16) and Havva (13) all live with their father in a remo­te vil­la­ge in cen­tral Anatolia. One after the other they were sent away to town to work as house­maids, but each of them has now retur­ned. The last of the sis­ters to do so is Nurhan. She beat the local doctor’s son becau­se he wet his bed every night. When Reyhan retur­ned home pregnant, her father hasti­ly mar­ried her off to the she­p­herd, Veysel. One day, the ine­bria­ted Veysel rises up against the vil­la­ge elder; his actions have dra­ma­tic con­se­quen­ces. Even if the dream of a bet­ter future does not come true for any of the­se young women and they always seem to be get­ting into argu­ments with each other, they none­thel­ess stead­fast­ly stick tog­e­ther. While they wait for the snow-cover­ed roads to beco­me pas­sa­ble again, father and daugh­ters pass the time with stories.
Emin Alper, who grew up in the Anatolian moun­ta­ins hims­elf, unfolds his fairy tale in haun­ting images. He por­trays a socie­ty in which neither women nor men have a chan­ce to break their pre­de­ter­mi­ned cycle, and yet he still lea­ves room for hope

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Credits:

Kız Kardeşler
Türkei/Deutschland/Niederlande/Griechenland 2019, 108 Min., tür­ki­sche OmU-Fassung
Buch und Regie: Emin Alper
Kamera: Emre Erkmen
Schnitt: Çiçek Kahraman
mit Cemre Ebüzziya, Ece Yüksel, Helin Kandemir, Kayhan Açıkgöz, Müfit Kayacan, Kubilay Tunçer

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• keine 

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Sorry, this ent­ry is only available in Deutsch.

A film by Joshua Bonnetta. Soon at the fsk.

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The clo­sing titles say The Two Sights was “coll­ec­ted” on various islands of the Outer Hebrides from 2017–19, but what does the film gather? There are the images, cap­tu­red on 16mm, which sur­vey all this ravis­hing land­scape con­ta­ins, taking in its rocky cliffs, bea­ches and plains, ali­ght­ing on its flo­ra and fau­na and the hou­ses and ships sprink­led over it, picking out curr­ents, reflec­tions and shifts in light. Then the­re are the sounds, recor­ded with the mic visi­ble in the first shots, kee­ning birds, the roaring wind, the cras­hing, gurg­ling, trick­ling of the water. In voice­over, a who­le antho­lo­gy of tales can be heard, nar­ra­ted in both English and Gaelic, sto­ries of dog ske­le­tons, drow­ned vil­la­ges, and fami­ly mem­bers pas­sing away, alt­hough songs, silence and the ship­ping fore­cast are just as at home the­re. But like any gre­at coll­ec­tion, it’s not about the indi­vi­du­al ele­ments, but how they over­lap, about how the crow han­ging on bar­bed wire con­ju­res up ano­ther sto­ry never told, about how the ripp­les seem to rever­be­ra­te along with the woman’s har­mo­nies, about how each anec­do­te floats over the rus­hing air. Sight by eye, sight by ear, two sights that ripp­le and flow together.

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Credits:

CA, UK 2020, 90 Min., gälisch, eng­li­sche OmU
Regie, Buch, Kamera, Ton, Schnitt, Musik, Sound Design: Joshua Bonnetta

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• noch keine 

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A film by Anne Fontaine.  In French with German subtitles.

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Virginie, Erik and Aristide are poli­ce offi­cers. All three try to keep their per­so­nal and emo­tio­nal lives tog­e­ther while deal­ing with dai­ly inci­dents of vio­lence in homes and on the streets. One night, they are assi­gned an unu­su­al mis­si­on: to dri­ve a migrant to the air­port for unspe­ci­fied reasons. On the way the­re, Virginie dis­co­vers that the man will be sen­ten­ced to death if he goes back to his coun­try. Faced with an unbe­ara­ble dilem­ma, she starts to ques­ti­on their mis­si­on. The trio has one night to deci­de a man’s fate. Prolific French film­ma­ker Anne Fontaine tack­les this dra­ma­tic and rele­vant topic with all the inten­si­ty and empa­thy it requi­res. Her stel­lar French actors are as com­mit­ted as the cha­rac­ters they embo­dy are hesi­tant. They are sup­port­ed by Iran’s Payman Maadi who gives a devas­ta­ting per­for­mance as the Tajikistani who can’t speak a word of his “host” country’s lan­guage. Their strugg­le to express a varie­ty of over­whel­ming emo­ti­ons reso­na­tes deep­ly and moves the view­er bey­ond words.

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Credits:

FR 2019, 98 Min., frz. OmU
Regie: Anne Fontaine
Kamera: Yves Angelo
Schnitt: Fabrice Rouaud
mit: Omar Sy, Virginie Efira, Grégory Gadebois (ab 10.12.)

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• noch keine 

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Im Kino mit deut­schen Untertiteln.

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A film by Ute Adamczewski. In German with English subtitles

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The title alre­a­dy indi­ca­tes that this is about two levels. History and the pre­sent, archi­ve and pre­sence – the­se are the terms Ute Adamczewski uses to descri­be the ten­si­on bet­ween sta­te and ter­rain. The series of dicho­to­mies could be con­tin­ued with “image and sound”. What we see in the­se two hours are towns, places and land­scapes in Saxony. They all have a con­nec­tion to events imme­dia­te­ly after the Nazis sei­zed power in 1933. At that time the hunt for poli­ti­cal oppon­ents began which affec­ted so many that num­e­rous, part­ly impro­vi­sed pri­sons and camps were built in the area.

An off-screen woman’s voice calm­ly reads from docu­ments of the peri­od, sup­ple­men­ted and expan­ded by memoirs of tho­se affec­ted from the post-war peri­od. Historical-poli­ti­cal aspects are added suc­ces­si­ve­ly. In the GDR, only tho­se who had fought against fascism were regard­ed as “vic­tims of fascism”. Jews were no vic­tims in that sen­se. This finds a remar­kab­le par­al­lel in the fact that even the Nazis in their attempts to bring order to the per­se­cu­ti­ons of 1933 (still) excluded the Jews: “Foreign des­cent is no reason for pro­tec­ti­ve detenti­on.” An impres­si­ve film about the pre­sence of the past, both in form and content.

Bert Rebhandl

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Credits:

DE 2019, 118 Min., OmeU, 
Regie, Buch, Schnitt: Ute Adamczewski
Kamera: Stefan Neuberger

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• noch keine 

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Zustand und Gelände (offi­zi­el­ler Trailer) from Grandfilm on Vimeo.

nach oben

A film by Maura Delpero. In Spanish and Italian with German subtitles.

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In a coun­try whe­re abor­ti­on is not yet legal, Delpero’s first fic­tion film deals with a signi­fi­cant social issue by start­ing from an emble­ma­tic set­ting whe­re pregnant and often underage girls coha­bit with women who will never be mothers. The direc­tor subt­ly plays on this under­ly­ing ten­si­on, buil­ding a nar­ra­ti­ve brought to life by the prot­ago­nists’ glan­ces and silen­ces.
Daniela Persico

Credits:

IT/AR 2019, 91 Min., ital./span. OmU
Regie: Maura Delpero
Kamera: Soledad Rodriguez
Schnitt: Ilaria Fraioli, Luca Mattei
mit: Lidiya Liberman, Denise Carrizo, Agustina Malale, Isabella Cilia, Alan Rivas, Livia Fernán, Marta Lubos, Renata Palminiello

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• noch keine 

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A film by Bernd Schoch. In Romanian with German and English subtitles.

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A spraw­ling myce­li­um. The star­ry sky over the Romanian Carpathians. The first two images intro­du­ce the dimen­si­ons that are at the core of Olanda: details and fine struc­tures on the one hand, con­stel­la­ti­ons and the big­ger pic­tu­re on the other. The focus is on a sea­so­nal asset of the area – the mush­room. Amongst peo­p­le it is the fora­gers who are nea­rest to them and the focus of the film is on them: on walks through the forest, in the tent camp, during car rides and con­ver­sa­ti­ons. From here it fol­lows the rhi­zo­me-like rami­fi­ca­ti­ons that con­ti­nue to branch out in the form of money: to local and inter­na­tio­nal mer­chants, to an impro­vi­sed shoe mar­ket in a clea­ring, to gambling among col­le­agues. The film tells of the­se tra­ding cycles by assum­ing a mush­room-like struc­tu­re wit­hout ever losing its cent­re of thought. Beyond an ana­ly­sis of eco­no­mic struc­tures, howe­ver, it is also the sen­su­al docu­ment of a rhythm of ever­y­day life in the forest, as expe­ri­en­ced by fora­gers as the first link in the recy­cling chain. In the cine­ma, it can be expe­ri­en­ced as an audio­vi­su­al mush­room-trip into the magi­cal world of the Carpathian forests.

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Credits:

DE 2019, 154 Min., rumä­ni­sche OmU
Regie: Bernd Schoch
Kamera: Simon Quack
Schnitt: Bernd Schoch, André Siegers

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Trailer:

OLANDA • Trailer EN subs from fuen­fer­film on Vimeo.

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A film by Julia von Heinz. In German with English subtitles.

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Germany is struck by a vio­lent series of racist ter­ror attacks. 20-year-old Luisa joins a sub­di­vi­si­on of the Antifa to oppo­se the upri­sing neo-Nazi move­ment. With her reck­less actions, she not only fights against the extre­me right but also tri­es to impress Alfa, an Antifa acti­vist she is secret­ly in love with. Soon, things esca­la­te, and Luisa and her fri­ends clash over the ques­ti­on if vio­lence could ever be a legi­ti­ma­te poli­ti­cal ans­wer to fascism and hatred.

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Credits:

DE 2020 ‚111 Min., dt OmeU
Regie & Buch: Julia von Heinz
Kamera: Daniela Knapp
Schnitt: Georg Söring
mit: Mala Emde, Tonio Schneider, Luisa-Céline Gaffron, Andreas Lust

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A film by Johannes M. Schmit. In German with English subtitles.

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Summer in Brandenburg. Markus is torn bet­ween the love for his grand­mo­thers in need of care and the lon­ging for a dif­fe­rent life in Berlin. A crowd of shim­me­ring demons keeps appearing in his day­d­reams. An allu­si­on to the que­er cho­sen fami­ly that awaits him in the city and saves him from his loneli­ne­ss? Markus‘ boxes to move to the big city are packed. So when he falls in love with Duc things get even more complicated.

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Credits:

DE 2020, 81 Min., dt. OmeU
Regie: Johannes M. Schmit
Kamera: Smina Bluth
Schnitt: Antonella Sarubbi
mit Tucké Royale, Monika Zimmering, Jalda Rebling, Minh Duc Pham u.a.

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• noch keine 

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