A film by Vincent Maël Cardona. In French with German subtitles.

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Brittany, 1980s.

A bunch of fri­ends year­ning for exci­te­ment broad­cast a free radio sta­ti­on from their home­town in the coun­try­si­de. Jerome leads it with uni­que cha­ris­ma while Philippe, the tech­ni­cal geni­us, lives in the shadow of Jerome, his big brot­her. When cal­led for the mili­ta­ry ser­vice, Philippe has no choice but to lea­ve for West Berlin. He’s deter­mi­ned to keep on broad­cas­ting, but rea­li­zes that he just lived the last glo­rious moments of a world on the ver­ge of extinction.

Credits:

Les Magnétiques
FR / DE 2021, 98 Min., frz. OmU
Regie: Vincent Maël Cardona
Kamera: Brice Pancot
Schnitt: Flora Volpelière
mit: Thimotée Robert, Marie Colomb, Joseph Olivennes, Meinhard Neumann

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A film by Kiyoshi Kurosawa. In Japanese and Uzbek with German subtitles.

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Yoko (play­ed by the for­mer lea­ding mem­ber of the idol girl group AKB48, Atsuko Maeda) is the repor­ter for a tele­vi­si­on tra­vel pro­gram who visits Uzbekistan with her tele­vi­si­on crew to make an epi­so­de for the pro­gram. She dreams of beco­ming a sin­ger. The film con­trasts Yoko’s upbeat on-came­ra per­so­na with her inter­nal con­flicts when she is on her own.

The film con­sists of a series of epi­so­des in which Yoko wades into a lake to descri­be loo­king for a pos­si­bly mythi­cal Uzbeki fish; pro­claims the deli­cious crun­chi­ness of under-coo­ked rice in a bowl of plov, a local dish; repea­ted­ly takes nau­sea-indu­cing turns on a fun-park pen­dulum ride until her came­ra crew can get enough B‑camera foo­ta­ge of her face; and tri­es to libe­ra­te a goat in cap­ti­vi­ty named Okoo only to learn that if she does, it will be eaten by wild dogs.

She and the crew visit Samarkand and Tashkent; in the lat­ter, she sings the clas­sic Édith Piaf anthem, Hymne à l’a­mour (with Japanese lyrics], in a fan­ta­sy sequence set at the Navoi Theatre which (as noted below) had been built after the war by Japanese POWs. During a visit to the bazaar, she wan­ders off with a hand-held came­ra and starts video­ta­ping in a rest­ric­ted area. She runs away from the poli­ce, who even­tual­ly appre­hend her but tre­at her kind­ly, espe­ci­al­ly when she lear­ns that her fire­figh­ter boy­fri­end may have been invol­ved in a mas­si­ve oil refi­nery fire in Tokyo Bay, whe­re he was sta­tio­ned. (The boy­fri­end is never actual­ly seen or heard; all the audi­ence lear­ns about him comes from texts he exch­an­ges with Yoko.)

In a fina­le set in the moun­ta­ins, her crew once again in pur­su­it of a likely mythi­cal beast, she again sings Hymne à l’a­mour as she ima­gi­nes that she has caught sight of Okoo run­ning free in the distance.

Credits:

Tabi no Owari Sekai no Hajimari (旅のおわり世界のはじまり)
UZ 2019, 120 Min. japa­nisch, usbe­ki­sche OmU
Regie: Kiyoshi Kurosawa
Kamera: Akiko Ashizawa
Schnitt: Koichi Takahashi
mit: Atsuko Maeda, Shota Sometani, Tokio Emoto, Adiz Rajabov, Ryo Kase

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A film by Carla Simón. In Catalan with German and English subtitles.

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For as long as they can remem­ber, the Solé fami­ly has spent every sum­mer picking the pea­ches in their orchard in Alcarràs, a small vil­la­ge in Spain’s Catalonia regi­on. But this year’s crop may well be their last, as they face evic­tion. The new plans for the land, which include cut­ting down the peach trees and instal­ling solar panels, cau­se a rift in this lar­ge, tight-knit fami­ly. For the first time, they face an uncer­tain future and risk losing more than their orchard.
After her beau­tiful debut Summer 1993, Carla Simón draws again on her expe­ri­ence of rural life in the Catalan coun­try­si­de, whe­re human acti­vi­ty is part of a cycle gover­ned by sea­sons in a capri­cious cli­ma­te. Family dyna­mics may be mud­di­ed by eco­no­mic con­cerns, but the­re are also dif­fe­ren­ces in how each indi­vi­du­al rela­tes to time. The youn­ger ones enjoy a see­mingly ever­las­ting pre­sent while father bul­lish­ly igno­res the immi­nent future, and grand­fa­ther is rely­ing on a long-for­got­ten pro­mi­se to pro­ve owner­ship of their house … This varie­ty is well-ser­ved by the natu­ral per­for­man­ces of the ensem­ble cast and ensu­res that poli­ti­cal­ly rele­vant the­mes are pre­sen­ted to us in a subt­le man­ner. The fami­ly is only able to find com­mon ground in tra­di­ti­on, which lea­ves us with a genui­ne dis­com­fort about what lies ahead.

Goldener Bär – Berlinale 2022

Credits:

ES/IT 2022, 120 Min., kata­la­ni­sche Originalfassung mit deut­schen und eng­li­schen Untertitlen
Regie: Carla Simón
Buch: Arnau Vilaró, Carla Simón
Kamera: Daniela Cajías
Schnitt: Ana Pfaff
mit Jordi Pujol Dolcet, Anna Otin, Xènia Roset, Albert Bosch, Ainet Jounou, Josep Abad, Montse Oró, Carles Cabós, Berta Pipó

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A film by Joanna Hogg. In English with German subtitles-

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In the second part of her self-explo­ra­to­ry diptych, Joanna Hogg ful­ly rea­li­zes the Proustian impli­ca­ti­ons of film­ing her memo­ries. In the begin­ning, it seems as if the film just took off whe­re the first one stop­ped, but ins­tead of moving on with the emo­tio­nal rol­ler­co­as­ter ride, the mour­ning echo of Anthony’s absence now takes over and rela­tes all actions to the ques­ti­on asked at the very begin­ning of the first film: how to film life? How to film what real­ly hap­pen­ed?
As Julia tri­es to cope with her life and make her gra­dua­ti­on film about her rela­ti­onship with Anthony, we redis­co­ver cine­ma as a means to heal our wounds, not neces­s­a­ri­ly becau­se ever­y­thing works out, but becau­se films and the exhaus­ting ways of making them enable us to find new per­spec­ti­ves on exis­tence. Rarely have the doubts of gro­wing up mer­ged so beau­tiful­ly with fin­ding one’s voice as an artist, such as in the sequen­ces remi­nis­cent of Hogg’s own first shorts when Julia gets lost in a Cocteau laby­rinth of sur­re­al memo­ries and phan­ta­sies.
This expres­sio­nist out­burst stands in stark con­trast to the casu­al and ten­der obser­va­tions across the rest of the film, but also pres­ents us with the dis­co­very of a lan­guage that cros­ses the bridge bet­ween expe­ri­ence and film. (Patrick Holzapfel)

Credits:

GB 2021, 107 Min., engl. OmU
Regie: Joanna Hogg
Kamera: David Raedeker
Schnitt :Helle le Fevre
Mit Honor Swinton Byrne, Tilda Swinton, James Spencer Ashworth, Alice McMillan, Oli Bauer, Ariane Labed, Richard Ayoade

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A film by Laura Bispuri. In Italian with German subtitles.

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One winter’s day, Nena gathers her fami­ly tog­e­ther to cele­bra­te her bir­th­day. Everyone is the­re: her hus­band Umberto, her son Vito and her daugh­ter Caterina with her cou­sin Isabella, her daugh­ter-in-law Adelina and her ex-son-in-law Manfredi with his new girl­fri­end Joana, her grand­d­augh­ter Alma, her maid Lucia with daugh­ter Grazia. And then the­re is Paco, Alma’s pea­cock. While ever­yo­ne waits for a lunch that will never be ser­ved, Paco beco­mes infa­tua­ted with a litt­le dove in a pain­ting. The tra­ge­dy inher­ent in the impos­si­bi­li­ty of this love distres­ses the who­le fami­ly. All of the guests are impel­led to think about their true fee­lings, about what remains and what is gone forever.

Credits:

Il paradi­so del pavo­ne
DE/IT 2021, 89 Min., ital. OmU
Regie: Laura Bispuri
Kamera: Vladan Radovic
Schnitt: Carlotta Cristiani, Jacopo Quadri
mit: Dominique Sanda, Maddalena Crippa, Carlo Cerciello, Alba Rohrwacher, Fabrizio Ferracane, Maya Sansa

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A film by Woody Allen. In English with German subtitles.

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Mort Rifkin, a snob­by elder­ly film cri­tic from New York^{[dis­am­bi­gua­ti­on nee­ded]}, is tel­ling his the­ra­pist about the recent deve­lo­p­ments in his life. In the recount, he’s accom­pany­ing his much youn­ger wife Sue to a film fes­ti­val in San Sebastián. She works as a press agent for Philippe, a French direc­tor who­se banal and deri­va­ti­ve anti-war film is being uni­ver­sal­ly cele­bra­ted as a mas­ter­pie­ce, to Mort’s chag­rin. Mort quick­ly beco­mes jea­lous of Sue and Philippe’s rela­ti­onship, which incre­asing­ly moves into open flir­ta­ti­on. Mort’s inner thoughts and fears cau­ses him to have night­ma­res inspi­red by well-known black and white cine­ma­tic clas­sics like Citizen Kane, Breathless, Jules and Jim, Persona, The Exterminating Angel, and 8½.

While at the fes­ti­val, Mort remi­nis­ces about his life and the pre­ten­tious novel that he’s been wri­ting for deca­des, try­ing to achie­ve a lite­ra­ry rele­van­ce that elu­des him. He reflects upon his youn­ger years when he used to teach cine­ma at the uni­ver­si­ty and felt hap­py and sti­mu­la­ted. Meanwhile, he’s hel­p­less to keep Sue and Philippe from spen­ding time with each other. Eventually, he seeks medi­cal advice about some chest pains and meets Joanna „Jo” Rojas, a Spanish doc­tor who spent some time in New York and is now unhap­pi­ly mar­ried with an unfaithful, tem­pe­ra­men­tal artist. Joanna lea­ves a las­ting impres­si­on on Mort and he repea­ted­ly tri­es to enga­ge her atten­ti­on by faking health issues. Eventually, the two go on a sight-see­ing dri­ve through the sur­roun­ding coun­try, both having a good time in the process.

On their way back to town, a flat tire forces Joanna and Mort to hitch­hi­ke back to Joanna’s home, whe­re she dis­co­vers her hus­band chea­ting on her with one of his models. The two have a bit­ter fight, then Joanna takes Mort back to his hotel. Here, Sue con­fronts Mort about their dete­rio­ra­ting rela­ti­onship, even­tual­ly announ­cing she’s lea­ving him to start a new life with Philippe. The next mor­ning, Mort calls Joanna, hoping to see her again befo­re he has to return to New York, but she poli­te­ly decli­nes, despi­te har­bor­ing some affec­tion for Mort and doubts about her own mar­ria­ge’s toxicity.

Finally, Mort ima­gi­nes hims­elf play­ing chess with Death in a paro­dy of Ingmar Bergman’s 1957 film The Seventh Seal. Death tells him that human life is ulti­m­ate­ly meanin­g­less, but does­n’t need to be emp­ty. In a par­ting word of advice, Death tells Mort that he will see him again in the future, but Mort might win some extra time by making sure to exer­cise and to avo­id pro­ces­sed foods. As the fes­ti­val rea­ches its clo­sing day, Mort reflects upon his chan­ged cir­cum­s­tances, pon­de­ring to go back to be a tea­cher, this time with a less rigid atti­tu­de towards art. Back in New York, he asks his the­ra­pist what he should do now.

Credits:

ES/US/IT 2020, 92 Min., engl. OmU,
Regie: Woody Allen
Kamera: Vittorio Storaro
Schnitt: Alisa Lepselter
mit: Elena Anaya, Louis Garrel, Gina Gershon, Sergi López, Wallace Shawn, Christoph Waltz

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A film by Zhang Yimou. In Mandarin with German subtitles.

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A pri­soner is sent to a labor camp during China’s Cultural Revolution. Using his wit, sole­ly to watch a news­re­el con­tai­ning a glim­pse of his daugh­ter, he escapes and heads for the cine­ma in a local town whe­re he hopes to find the film. But on the way he comes across a young vagabond who runs away with the reel. Curiously, this enig­ma­tic object, which both covet, will beco­me the seed of an unex­pec­ted friendship.

Credits:

Yi miao zhong
CN 2019, 103 Min., man­da­rin OmU
Regie: Zhang Yimou
Basierend auf dem Roman „The Criminal Lu Yanshi” von Yan Geling.
Schnitt: Yuan Du
Kamera: Zhao Xiaoding
mit: Zhang Yi, Liu Haocun, Fan We

Trailer:

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Vom 22. – 29. Juni fin­det die­ses Jahr das größ­te pol­ni­sche Filmfestival außer­halb Polens statt. Im fsk zei­gen wir alle sie­ben Wettbewerbsbeiträge und zwei Specials:

Bukolika / Bucolic Mutter und Tochter in einem bau­fäl­li­gen, abge­le­ge­nen Haus. Das gan­ze Leben mit sei­nen all­täg­li­chen Reibereien, klei­nen Ausbrüchen und grund­le­gen­den Entscheidungen.
PL 2021, R/B/K: Karol Pałka, 70 Min, OmeU,
24.06. 20:00 zu Gast: Karol Pałka

Inni lud­zie / Other People Wer ein­mal einen Text der Star-Autorin Dorota Masłowska gele­sen hat, weiß, was ihn/sie erwar­tet: eine wild schlin­gern­de Handlung, Gesellschaftskritik, mas­sen­haft pop-/kul­tu­rel­le Zitate, Blicke in die Abgründe urba­ner Milieus im frü­hen 21. Jahrhundert.
PL 2021, 106 min, OmdU, R/B: Aleksandra Terpińska, D: Jacek Beler, Sonia Bohosiewicz, Magdalena Koleśnik.
25.06. 20:00

Mosquito State In einem muti­gen, umwer­fend bild­ge­wal­ti­gen visu­el­len Experiment ver­knüpft Rymsza die Biografie eines Insekts mit der Zukunft der glo­ba­len Ökonomie. Er zeigt, dass neue Ansätze radi­kal gedacht wer­den müs­sen – und fin­det dafür radi­ka­le visu­el­le Mittel.
PL/USA 2020, 101 min, engl. OF m. poln. UT, R: Filip Jan Rymsza, D: Beau Knapp, Charlotte Vega, Jack Kesy u. a.
29.06. 20:00 zu Gast: Filip Jan Rymsza

Ostatni kom­ers / Love Tasting Es ist Juni, nur noch weni­ge Tage blei­ben bis zum gro­ßen Abschlussball. Dann wer­den sich die Wege der Gymnasiastinnen tren­nen und es wird höchs­te Zeit sich zu ent­schei­den, wohin die Lebensreise gehen soll.
PL 2020, 85 min, OmeU, R/B: Dawid Nickel, D: Mikołaj Matczak, Michał Sitnicki, Sandra Drzymalska u. a.
28.06. 20:00 zu Gast: Dawid Nickel

Polaków port­ret włas­ny / Polish Self-Portrait Ein Dokumentar-Experiment, in denen die Protagonistinnen zu ihren eige­nen Kameraleuten wer­den und uns ein Jahr lang an ihrem Leben teil­ha­ben las­sen. Und das ist alles ande­re als ereig­nis­arm.
PL 2021, 115 min, OmeU, R: Maciej Białoruski, Jakub Drobczyński, Robert Rawłuszewicz, 26.06. 20:00 zu Gast: Maciej Białoruski & Jakub Drobczyński

Sonata / Sonate In der Provinz des Karpatenvorlandes wird bei Grzegorz schon früh Autismus dia­gnos­ti­ziert. Er spricht nicht, kap­selt sich von sei­ner Umwelt ab und vege­tiert man­gels Therapie vor sich hin – bis in sei­nem Haus ein Klavier auf­taucht.
PL 2021, 118 min, OmdU, R/B: Bartosz Blaschke, D: Michał Sikorski, Małgorzata Foremniak, Łukasz Simlat
27.06. 20:00 zu Gast: Bartosz Blaschke

Wszystkie nas­ze strachy / Alle unse­re Ängste Kunst und Gesellschaft sind für Daniel Rycharski untrenn­bar mit­ein­an­der ver­bun­den, doch mit sei­nen Skulpturen und Happenings eckt er bei den unmit­tel­ba­ren Nachbarn mas­siv an – vor allem, wenn er dar­in die Ausgrenzung von LGBT-Personen the­ma­ti­siert.
PL 2021, 91 Min, OmdU, R: Łukasz Ronduda, Łukasz Gutt, Kamil Grzybowski, D: Dawid Ogrodnik, Maria Maj, Andrzej Chyra.
23.06. 20:00 zu Gast: Łukasz Ronduda, Łukasz Gutt & Dawid Ogrodnik

Erotica 2022 In fünf Episoden ent­wer­fen Regisseurinnen nach Drehbüchern nam­haf­ter Schriftstellerinnen – unter ihnen die Nobelpreisträgerin Olga Tokarczuk und Bestseller-Autorin Joanna Bator – dys­to­pi­sche Visionen über eine nicht all­zu fern lie­gen­de Zukunft. PL 2021, 137 min, OmeU, R: Anna Kazejak, Anna Jadowska, Kasia Adamik, Jagoda Szelc, Olga Chajdas, D: Agata Buzek, Monika Pikuła, Agnieszka Żulewska,
26.06. 15:00 zu Gast: Anna Jadowska

Film bal­ko­no­wy / Der Balkonfilm Paweł Łoziński mon­tiert eine Kamera auf dem Balkon, kabelt ein Mikrofon an den Zaun und beginnt, den Passant*innen schein­bar plan­los und naiv Fragen nach ihrem Woher und Wohin zu stel­len. Von nun an legt er sich ein Jahr lang auf die Lauer.
PL 2021, 100 min, OmdU, R/B/K: Paweł Łoziński, S: Paweł Łoziński, Piasek & Wójcik 25.06. 15:00 zu Gast: Paweł Łoziński

A film by Joachim Lafosse. In French with ger­man subtitles. 

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Leïla and Damien love each other deep­ly. Despite his bipo­la­ri­ty, he tri­es to con­ti­nue life with her, kno­wing that he may never be able to give her what she desires.

Credits:

Les Intranquilles
BE/LU/FR 2021, 118 Min., frz. OmU,
Regie: Joachim Lafosse
Kamera: Jean-François Hensgens
Schnitt: Marie-Hélène Dozo
mit: Leïla Bekhti, Damien Bonnard, Gabriel Merz Chammah, Patrick Descamps

Trailer:

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A film by Ronny Trocker.

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Jan and Nina tra­vel with their two child­ren to their weekend home on the Belgian coast to find some peace and quiet. But this is rui­ned by a mys­te­rious break-in when the fami­ly arri­ves. Afterwards, Nina has a bloo­dy nose and Zorro, their son Max’s pet rat, has dis­ap­peared. What hap­pen­ed? None of them is able to give the poli­ce a clear descrip­ti­on of the intru­ders. Back in Germany, the suc­cessful adver­ti­sing agen­cy that this bilin­gu­al cou­ple runs tog­e­ther beco­mes the tar­get of a paint bomb attack. Jan had pre­vious­ly made the sin­gle-han­ded decis­i­on to take on the elec­tion cam­paign for a poli­ti­cal par­ty with popu­list ten­den­ci­es – a move that goes against ever­y­thing Nina holds dear.
Director Ronny Trocker’s second fea­ture film is a subt­le fami­ly dra­ma that smooth­ly tran­si­ti­ons bet­ween dif­fe­rent per­spec­ti­ves of an event. What took place and what it means is thus shown to us in diver­se ways and is con­ti­nu­al­ly expan­ded. As he zeroes in on the sta­te of mind of indi­vi­du­al fami­ly mem­bers, he reve­als the fra­gi­li­ty and poten­cy of indi­vi­du­al perception.

Credits:

DE, DK, IT 2022, 102 Min., frz., dt. OmU,
Buch & Regie: Ronny Trocker
Kamera: Klemens Hufnagl
Schnitt: Julia Drack
mit Mark Waschke, Sabine Timoteo, Jule Hermann, Wanja Valentin Kub

Trailer:

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