Author: fsk

  • Babai

    Babai

    Kosovo, in the 1990s: Gezim sells ciga­ret­tes on the street and tri­es to scra­pe by as best he can, with his ten-year-old son Nori hel­ping him. But Gezim doesn’t want to car­ry on like this; he wants to get out of Kosovo – wit­hout his son, who would only be an extra bur­den on the jour­ney to Germany. Nori, howe­ver, does not want to be left behind; the boy stub­born­ly sticks clo­se to his father. Nori is inju­red in an acci­dent; his father takes him to hos­pi­tal but lea­ves him the­re alo­ne. Nori is dis­ap­poin­ted and angry with his father and so secret­ly takes what he needs to be able to tra­vel after him. Together with other refu­gees, Nori cros­ses the Adriatic Sea in a rub­ber ding­hy and final­ly reu­ni­tes with his father in Germany, who is now wai­ting for his future at a recep­ti­on cent­re for asyl­um see­kers. Nori can now final­ly con­front his father about what he has done.

    “In Kosovo in the 1990s, the­re was a social cli­ma­te that I find hard to put into words. What was asto­nis­hing was not so much the pre-war atmo­sphe­re its­elf – which was accom­pa­nied by house sear­ches, arbi­tra­ry shoo­tings, cur­fews and extre­me pover­ty – but rather the way peo­p­le dealt with all tho­se events. The fee­ling among­st Kosovars that things were not going well for their Kosovo was ever-pre­sent … However, the film’s sub­ject is not the poli­ti­cal cli­ma­te. That atmo­sphe­re is the under­ly­ing mood that car­ri­es the film and the frame­work within which my sto­ry beg­ins. The film its­elf tells a very per­so­nal and high­ly sub­jec­ti­ve father-son sto­ry set against a back­drop of exter­nal con­trol. As the con­text is far too com­plex for a poli­ti­cal dis­cour­se, I focu­sed on my per­so­nal expe­ri­ence whilst wri­ting. There are hard­ly any sce­nes in the film that I haven’t expe­ri­en­ced mys­elf or wit­nessed in my imme­dia­te sur­roun­dings.” From a com­men­ta­ry by direc­tor Visar Morina

    “Babai” has won num­e­rous awards (sel­ec­tion): Munich Film Festival: Best Film, Best Screenplay, Best Actors; Karlovy Vary Film Festival: Best Director; Tirana Film Festival: Best Film; Cottbus Film Festival: Best Debut …

    Translated with DeepL.com (free version)

    Germany, Kosovo, Macedonia, France 2015,
    104 mins, Albanian, German, Serbian (ori­gi­nal ver­si­on with sub­tit­les)
    Written and direc­ted by: Visar Morina
    Cinematography: Matteo Cocco
    Editing: Stefan Stabenow, Anne Fabini, Maja Tennstedt

  • Sternbrücke Forever

    Sternbrücke Forever

    A film by Christian Hornung. In German and English with German subtitles.

    [Credits] [Tickets & Termine] [Trailer]

    A bridge, a neigh­bour­hood, a city in flux: when the decis­i­on is made to demo­lish Hamburg’s Sternbrücke, a micro­c­osm that has grown up over time – com­pri­sing clubs, kiosks, work­shops and the local com­mu­ni­ty – is thrown into turm­oil. STERNBRÜCKE FOREVER tells a warm-hear­ted and humo­rous sto­ry of fare­well and resistance.

    Beneath Hamburg’s Sternbrücke, a uni­que micro­c­osm of clubs, kiosks, work­shops and the local com­mu­ni­ty has flou­ris­hed. Mehmet sells fal­a­fel, Martina runs a kiosk, and Stefan repairs cars. And every weekend, young peo­p­le flock to the clubs run by Juri, Daniel, Ute and others beneath the Sternbrücke. But their time here is run­ning out. When the decis­i­on is made to demo­lish the bridge, a peri­od of uncer­tain­ty las­ting seve­ral years beg­ins for the local com­mu­ni­ty. The film fol­lows the com­mu­ni­ty in a sta­te of uphe­aval – caught bet­ween ever­y­day life, fare­wells and resistance.

    STERNBRÜCKE FOREVER is a warm-hear­ted and sur­pri­sin­gly humo­rous decla­ra­ti­on of love for a spe­cial place and its peo­p­le, and at the same time a furious com­men­ta­ry on urban poli­cy, the con­se­quen­ces of which can be obser­ved in many cities. A Hamburg sto­ry thus beco­mes a uni­ver­sal nar­ra­ti­ve about chan­ge and soli­da­ri­ty – and about the ques­ti­on of who the city belongs to and what makes it worth living in.

    Credits:

    DE 2026, 99 mins, German, English with German sub­tit­les
    Written and direc­ted by: Christian Hornung
    Cinematography: Marvin Hesse
    Editing: Christian Hornung

    Trailer:
    Sternbrücke Forever | offi­zi­el­ler deut­scher Trailer
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  • Bad Apples

    Bad Apples

    A film by Jonatan Etzlerl. In English with German subtitles.

    [Credits] [Tickets & Dates] [Trailer]

    A young tea­cher has to deal with a dif­fi­cult pupil in order not to lose her job. A dark comedy.

    “Whilst the film is not pri­ma­ri­ly about taking on a fla­wed and out­da­ted edu­ca­ti­on sys­tem, but rather about indi­vi­du­al pro­blems, it nevert­hel­ess main­ta­ins a cri­ti­cal eye on social cir­cum­s­tances and inju­s­ti­ces. The children’s fami­ly cir­cum­s­tances are shown rather in pas­sing. From the out­set, the who­le situa­ti­on feels men­acing; only the light, boun­cy music seems to sug­gest: ‘Perhaps it won’t be quite that bad…’ Yet the tone grows incre­asing­ly stark as the plot unfolds – about which we shall reve­al as litt­le as pos­si­ble here. The humour is so bit­ter­ly dark that more than once, laugh­ter gets stuck in your throat.” filmstarts

    Credits:

    UK 2026, 100 mins, English with German sub­tit­les
    Director: Jonatan Etzler
    Screenplay: Jess O’Kane
    Cinematography: Nea Asphäll
    Editing: Robert Krantz
    Starring: Saoirse Ronan, Jacob Anderson, Eddie Waller, Nia Brown

    Trailer:
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  • If Pigeons Turned to Gold

    If Pigeons Turned to Gold

    A film by Pepa Lubojacki. Starts November 5th at the fsk. In Czech, English with German subtitles

    [Credits] [Tickets & Termine] [Trailer]

    Over a five-year peri­od, Pepa Lubojacki docu­ments the lives of four fami­ly mem­bers, first and fore­most his brot­her David who is an alco­ho­lic and home­l­ess. Using a high­ly per­so­nal, dia­ry-like col­la­ge, Lubojacki attempts to lay bare the roots of inter­ge­ne­ra­tio­nal mis­for­tu­ne repea­ted­ly mani­fes­ted in seve­re addic­tion. Text sculp­tures, long-term obser­va­tions, syn­th-infu­sed beats and AI-ani­ma­ted child­hood pho­tos mer­ge here into a striking and playful, unspa­ring yet loving reve­la­ti­on. If Pigeons Turned to Gold is both an act of sur­ren­der and a shim­mer of hope, a show of strength and a pro­cess of reso­lu­ti­on. Pepa Lubojacki thus brings the past to life, crea­ting a con­text that shields David and their cou­sins, also suf­fe­ring from addic­tion, from the judgmen­tal gaze of the out­side world – and its igno­rance. In their gent­le encoun­ter, for one moment they beco­me lonely child­ren once again. Not so much in search of guilt but more heal­ing, the end brings the pos­si­bi­li­ty of a trans­for­ma­ti­on, sym­bo­li­sed in the father’s dila­pi­da­ted house that Pepa trans­forms into a safe space: Home, I’m coming.

    Credits:

    CZ/SK 2026, 110 mins, Czech, English with German sub­tit­les
    Director, Screenplay, Editor: Pepa Lubojacki
    Cinematography: Pepa Lubojacki, Tomáš Šťastný

    Trailer:
    If Pigeons Turned to Gold | Clip | SFF26

    Im Kino mit deut­schen Untertitleln.

    nach oben
  • Liebhaberinnen

    Liebhaberinnen

    A film by Koxi. Starts October 22nd at the fsk. In German with English subtitles.

    [Credits] [Tickets & Termine] [Trailer]

    A slee­ping bag on the flo­or in front of the fit­ness stu­dio lockers, a coa­ching semi­nar and the mor­ning shift brie­fing (to prac­ti­se the sales­per­son smi­le): the­se are the tough situa­tions Brigitte (Johanna Wokalek) finds hers­elf in. She is the prot­ago­nist of this Elfriede Jelinek adapt­a­ti­on, in which debut film­ma­ker Koxi takes stock of the suc­cessful ear­ly novel by the later Nobel Prize win­ner by cata­pul­ting it from the 1970s into con­tem­po­ra­ry late capi­ta­lism. Female mar­ket value today? While scrol­ling, midd­le-aged trade fair hos­tess Brigitte comes across school­girl Paula (Hannah Schiller), who is doing all she can to get Internet fame. While one seems full of youthful ambi­ti­ons and aspi­ra­ti­ons, the other starts com­pa­ring hers­elf to her, incre­asing­ly obses­si­ve­ly. Brigitte must chan­ge her life to reach her goals with pro­per cal­cu­la­ti­on – but are they real­ly hers? Paula goes to dra­stic mea­su­res to break out of her drea­ry home, but the­re is no escape. Liebhaberinnen is a dark tra­gi­co­me­dy about the impos­si­bi­li­ty of fema­le ful­film­ent and the less empowe­ring brand of mother-daugh­ter rela­ti­onships. “Use the patri­ar­chy” cum self-mar­ke­ting opti­mi­sa­ti­on. All in all, litt­le has changed.

    Credits:

    DE/LX 2026, 98 mins, German with English sub­tit­les
    Director: Koxi
    Screenplay: Antonio de Luca, Koxi
    Cinematography: Jakob Berger
    Editing: Andreas Menn, Antonio de Luca
    star­ring Johanna Wokalek, Hannah Schiller, Ben Münchow, Victoria Trauttmansdorff, Jasmin Artosha Mokhtare, Susanne Bredehöft

    Trailer:
    LIEBHABERINNEN | offi­zi­el­ler Trailer | Kinostart: 22.10.2026
    nach oben
  • Nie ma duchów w mieszkaniu na Dobrej / No Ghosts On Good Street / Es gibt keine
Geister in der Wohnung in der Guten Straße

    Nie ma duchów w mieszkaniu na Dobrej / No Ghosts On Good Street / Es gibt keine Geister in der Wohnung in der Guten Straße

    PL 2025, 90 mins, ori­gi­nal ver­si­on with German and English sub­tit­les, Dir: Emi Buchwald / Screenplay: Emi Buchwald, Karol Marczak / Cinematography: Tomasz Gajewski / Editing: Anna Łuka / Music: Katarzyna Gawlik, Jerzy Rogiewicz Cast: Bartłomiej Deklewa, Izabella Dudziak, Tymoteusz Rożynek, Karolina Rzepa, Piotr Napierała, Daria Muszyńska, Andrzej Kłak, Gabriela Arak, Aleksander Janiszewski, Krzysztof Drozdowski and others.

    The came­ra slow­ly pans through fur­nis­hed rooms; sounds from a distant past can be heard; the flat in the old buil­ding appears to be emp­ty. Yet the­re is someone sit­ting on the win­dows­ill – it is a night­ma­re, a mythi­cal figu­re that sits on people’s chests at night and squeezes the life out of them.
    The four very dif­fe­rent siblings cle­ar­ly sen­se the pre­sence of this night­ma­re. The flat belongs to them, alt­hough only one of them still lives the­re. But it is not fig­ments of the ima­gi­na­ti­on that are suf­fo­ca­ting them, but very real worries that pla­gue young peo­p­le sear­ching for their place in life in a big city like Warsaw – toxic rela­ti­onships, panic attacks, fear of com­mit­ment. With refres­hing non­cha­lance and a level of dra­ma­tic matu­ri­ty asto­nis­hing for a debut, Emi Buchwald has her fin­ger on the pul­se of a gene­ra­ti­on in which ever­yo­ne is batt­ling their own demons. Perhaps this batt­le can only be won in one way – as a group, or bet­ter still: as a fami­ly. The sen­se of ever­y­day rea­li­ty, which is also reflec­ted in the lan­guage typi­cal of Gen Z, the blend of tra­ge­dy and come­dy, and a subt­ly appli­ed dose of meta­phy­sics come across to German audi­en­ces as a suc­cessful mix of AKIZ’s Der Nachtmahr and Dietrich Brüggemann’s 3 Zimmer/Küche/Bad. [Rainer Mende]

    16 September / 8.00 pm / fsk Kino
    [Tickets]

  • LARP. Miłość, trolle i inne questy / LARP

    LARP. Miłość, trolle i inne questy / LARP

    PL 2025, 90 mins, ori­gi­nal ver­si­on with German and English sub­tit­les, , Dir: Kordian Kądziela / Screenplay: Kordian Kądziela, Michał Wawrzecki / Cinematography: Cezary Stolecki / Editor: Magdalena Chowańska / Music: Jan Sanejko / Cast: Filip Zaręba, Martyna Byczkowska, Hubert Łapacz, Mikołaj Chilimończyk, Maciej Bisiorek, Agnieszka Rajda, Andrzej Konopka, Edyta Olszówka, Michał Balicki, Bartłomiej Topa and others.

    The Lower Silesian coun­try­si­de isn’t exact­ly brim­ming with attrac­tions for teen­agers. But its wood­lands pro­vi­de the per­fect back­drop for spraw­ling live-action role-play­ing games. It’s cer­tain­ly no coin­ci­dence that their idol, the cele­bra­ted fan­ta­sy aut­hor Lacroix, hails from their back­wa­ter of all places.
    Yet it is in ever­y­day life that the lan­ky, self-con­scious ado­le­s­cent Sergiusz must fight his toug­hest batt­les. He is con­stant­ly bul­lied by the son of the village’s richest man; his sin­gle father would like to mould him into a com­pe­ti­ti­ve ath­le­te; and the beau­tiful Helena, who sud­den­ly turns up at school, is making the wrong fri­ends.
    Kordian Kądziela’s cri­ti­cal­ly acclai­med box-office hit has ever­y­thing a clas­sic coming-of-age film needs – social con­flicts, a love sto­ry and a healt­hy dose of youthful exu­berance. What makes it spe­cial, along­side num­e­rous ori­gi­nal visu­al ide­as (inclu­ding an incon­gruous 1990s set­ting) and various ton­gue-in-cheek jibes at the LARP and fan­ta­sy sce­nes, is the magni­fi­cent per­for­mance of Andrzej Konopka, who has won mul­ti­ple awards for his role as an over­whel­med father and pro­vin­cial poli­ce­man. [Rainer Mende]

    15 September / 8.00 pm / fsk Kino
    [Tickets]

  • Królestwo / Kingdom / Königreich

    Królestwo / Kingdom / Königreich

    PL 2025, 112 mins, ori­gi­nal ver­si­on with German and English sub­tit­les, Dir/Screenplay: Michał Ciechomski / Cinematography: Paweł Grabarek / Screenplay: Agnieszka Białek-Zaborowska / Music: Lubomir Grzelak Cast: Bartosz Mikulak, Julian Świeżewski, Jacek Poniedziałek, Aleksander Kaleta, Dawid Piejko, Mateusz Łasowski, Michał Włodarczyk and others

    Contemporary Poland is a war zone. Warsaw’s sky­scra­pers are ridd­led with holes, the streets are lit­te­red with corp­ses and shot-up cars, the govern­ment has gone into hiding, and the civi­li­an popu­la­ti­on is try­ing to flee the coun­try whilst the ‘Neo-Barbarians’ con­ti­nue their attacks.
    After losing his job too, Dawid actual­ly intends to be smug­g­led abroad with his par­ents. But then he fol­lows his brot­her to the ‘Black Spiders’ – a dubio­us, strict­ly hier­ar­chi­cal group of mar­ti­al-loo­king skin­heads with subt­le homo­ero­tic under­to­nes. They appear to be the last to still stand up to the inva­ders, pre­pa­ring for the final batt­le with small-sca­le mili­ta­ry ope­ra­ti­ons.
    Michał Ciechomski’s fea­ture film debut is cine­ma­tic art in its purest form. In his mas­terful­ly craf­ted dys­to­pia, no long take is ordi­na­ry; every shot by Paweł Grabarek’s came­ra embo­dies an ori­gi­nal idea. Jacek Hamela’s expe­ri­men­tal sound design, too, con­sis­t­ent­ly fol­lows a crea­ti­ve prin­ci­ple. This visi­on of war is not heroic action cine­ma, but an audio­vi­su­al chall­enge that makes the col­lap­se of an order almost phy­si­cal­ly pal­pa­ble. [Rainer Mende]

    14 September / 8.00 pm / fsk Kino / Guest: Michał Ciechomski
    [Tickets]

  • Dom Dobry / Home Sweet Home

    Dom Dobry / Home Sweet Home

    PL 2025, 107 mins, Original ver­si­on with German and English sub­tit­les, Director: Wojciech Smarzowski / Cinematography: Paweł Tybora / Screenplay: Krzysztof Komander / Music: Mikołaj Trzaska, Cast: Agata Turkot, Tomasz Schuchardt, Agata Kulesza, Maria Sobocińska, Łukasz Gawroński, Arkadiusz Jakubik, Magdalena Smalara, Julia Kijowska, Andrzej Konopka and others.

    Gośka, no lon­ger a spring chi­cken, can bare­ly stand living with her shrewish mother, who can’t stop drin­king or nag­ging her daugh­ter, even at Christmas. Fortunately, the sophisti­ca­ted Grzesiek turns up, a man with both feet firm­ly on the ground. When things go pear-shaped at home once again, Gośka spon­ta­neous­ly packs her bags and moves in with him.
    Suddenly, ever­y­thing seems to be taking a turn for the bet­ter – they tra­vel the world tog­e­ther; the mar­ria­ge pro­po­sal in Venice is fol­lo­wed by the wed­ding and the birth of a daugh­ter. Yet the dome­stic idyll gra­du­al­ly turns into a night­ma­re. For within their own four walls, Grzesiek beco­mes a tyrant who does not shy away from psy­cho­lo­gi­cal and phy­si­cal abu­se.
    With his ninth fea­ture film, Smarzowski once again impres­si­ve­ly mana­ges to gar­ner cri­ti­cal accla­im and awards, whilst also raking in box-office takings and spar­king a social deba­te. Once again, along­side Krzysztof Komander, he pro­ves hims­elf a mas­ter at the editing desk and – thanks in part to the per­for­man­ces of Agata Turkot and Tomasz Schuchardt as Gośka and Grzesiek – mana­ges to strike a balan­ce bet­ween a wide­ly acces­si­ble dra­ma and a sophisti­ca­ted art­house film. [Rainer Mende]

    13 September / 8.00 pm / fsk Kino / Guest: Wojciech Smarzowski
    [Tickets]

  • Dziecko z pyłu / Child of Dust / Kinder des Staubs

    Dziecko z pyłu / Child of Dust / Kinder des Staubs

    PL/VN/CH/CZ/QA 2025, 93 mins, ori­gi­nal ver­si­on with German and English sub­tit­les, Dir/Screenplay: Weronika Mliczewska / Cinematography: Mikael Lypinski / Editing: Marcin Sucharski, Mateusz Romaszkan / Music: Joaquin Garcia

    Sang is a ‘dust child’ – he has a Vietnamese mother and an American father who left the coun­try after the end of the Vietnam War and has been miss­ing ever sin­ce. As a fat­her­less child of mixed eth­nic heri­ta­ge, this slum dwel­ler and illi­te­ra­te man has felt mar­gi­na­li­sed all his life and has always lived in pre­ca­rious cir­cum­s­tances. But he has not given up the fight for a life of digni­ty – whe­ther by start­ing a fami­ly or by sear­ching for his father. And even in a docu­men­ta­ry, mira­cles some­ti­mes hap­pen: a DNA test leads Sang to his father, who­se child­ren in the US had pre­vious­ly known not­hing of their brot­her in Vietnam. Crossing all cul­tu­ral and lin­gu­i­stic boun­da­ries, they make cont­act and soon embark on a joint pro­ject: to bring Sang to the United States so that he can be clo­se to his second fami­ly and, even­tual­ly, bring his wife and daugh­ter over to join him. With her first fea­ture-length film, Weronika Mliczewska has hers­elf achie­ved a small mira­cle. She gets asto­nis­hin­gly clo­se to her prot­ago­nists and uses her came­ra to docu­ment a blend of dra­ma, crime thril­ler and fami­ly tra­ge­dy, brim­ming with extra­or­di­na­ry sce­nes and sur­pri­sing twists. In doing so, she tack­les ques­ti­ons of home, social struc­tu­re, guilt, respon­si­bi­li­ty and ato­ne­ment at a breathl­ess pace.
    [Rainer Mende]

    13 September / 3:00pm / fsk Kino / Guest: Weronika Mliczewska
    [Tickets]