a film by Andrea Segre. Starts December 30th at the fsk. In Italian with German subtitles

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Some things are very dif­fi­cult for a father to share with his son and the lat­ter can only start to under­stand them when he beco­mes a father. In February-April this year, Andrea Segre, who has been living in Rome for years, was blo­cked by the lock­down in Venice, the city of his father Ulderico. He was working the­re on two theat­re and cine­ma pro­jects on the city’s gre­at blights: tou­rism and high water. While he was film­ing the city was fro­zen and emp­tied befo­re his very eyes, res­to­ring it to natu­re and its histo­ry, and in some ways to him as well. He coll­ec­ted visu­al notes and spent that peri­od in his fami­ly home whe­re he del­ved into the past. Personal archi­ves in Super8 by the director’s father and the real prot­ago­nist of the film alter­na­te with mee­tings with Venetian inha­bi­tants, who talk about the rela­ti­onship bet­ween the city and water whilst expe­ri­en­cing the unex­pec­ted arri­val of the gre­at void that has inva­ded Venice and a lar­ge part of the world. The who­le thing is kept tog­e­ther by the director’s off screen voice, Teho Teardo’s music and an atmo­sphe­re of expec­tancy and ama­ze­ment that per­va­des the enti­re visu­al and exis­ten­ti­al mate­ri­al of this stran­ge journey.

Credits:

IT 2020, 68 Min., ital. OmU,
Buch & Regie: Andrea Segre
Kamera: Matteo Calore, Andrea Segre
Schnitt: Chiara Russo

Trailer:

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A film by Kitty Green. In English with German subtitles.

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Another day at the office. Jane, the new assistant to a powerful media mogul, is the first to arri­ve and, by the end of the film, will be the last to lea­ve. She does her job, endu­res her col­le­agues’ con­stant hosti­li­ty and appli­es hers­elf to her gro­wing pile of tasks with pains­ta­king pre­cis­i­on: prin­ting out sche­du­les, arran­ging tra­vel, orde­ring lunch and tidy­ing up her boss’s office. Without him ever once put­ting in an appearance in front of the came­ra, his exis­tence is none­thel­ess all-per­va­si­ve – for both Jane and the audi­ence. We hear him on the other end of the pho­ne repri­man­ding Jane; we also wit­ness the array of attrac­ti­ve young women who are pay­ing a visit to the com­pa­ny at his behest. Jane’s sus­pi­ci­ons and dis­com­fort spin out of con­trol as it beco­mes clear that she is part of an abu­si­ve sys­tem.
Assembled with visu­al rigour and nar­ra­ti­ve quietu­de, Kitty Green’s grip­ping fic­tion­al debut homes in on oppres­si­ve prac­ti­ces in a work­place and depicts the abu­se taking place behind clo­sed doors from the per­spec­ti­ve of tho­se who are its wil­ling or unwil­ling enablers. By the end, we may not have seen much, but we under­stand everything.

Credits:

US 2019, 87 Min., engl. OmU,
Regie: Kitty Green
Kamera: Michael Latham
Schnitt: Kitty Green, Blair McClendon
mit Julia Garner, Matthew Macfadyen, Makenzie Leigh, Kristine Froseth

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a film by Sabrina Sarabi. Starts January 20th at the fsk. In German with English subtitles.

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It‘s high sum­mer in the midd­le of nowhe­re, Mecklenburg, Germany. Five hou­ses, one bus stop, cows, and not­hing but fields. Twenty-four-year-old Christin (Saskia Rosendahl) lives on the farm of her long-term boy­fri­end Jan, twen­ty-five (Rick Okon). The exci­ting post-reuni­fi­ca­ti­on years that defi­ned her child­hood are long gone.
Her rela­ti­onship is love­l­ess. Her father drinks. Christin, too, keeps the cher­ry liqueur under her car seat. In the shim­me­ring heat of sum­mer, time seems to stand still – until for­ty-six-year-old wind ener­gy engi­neer Klaus (Godehard Giese) arri­ves from Hamburg and sets the world spin­ning again.

Credits:

DE 2021, 116 Min., dt. O.m.engl. U.
Buch und Regie: Sabrina Sarabi
nach dem Roman von Alina Herbing
Kamera: Max Preiss
Schnitt: Heike Parplies
mit: Saskia Rosendahl, Rik Okon, Godehard Giese, Enno Trebs, Peter Moltzen, Anne Weinknecht

Trailer:

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a film by Maggie Gyllenhaal.

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Alone on a sea­si­de vaca­ti­on, Leda beco­mes con­su­med with a young mother and daugh­ter as she wat­ches them on the beach. Unnerved by their com­pel­ling rela­ti­onship, (and their rau­cous and men­acing exten­ded fami­ly), Leda is over­whel­med by her own memo­ries of the ter­ror, con­fu­si­on and inten­si­ty of ear­ly mother­hood. An impul­si­ve act shocks Leda into the stran­ge and omi­nous world of her own mind, whe­re she is forced to face the uncon­ven­tio­nal choices she made as a young mother and their consequences.

Credits:

US/GB/GR/IL 2021, 121 Min., engl. OmU
Buch und Regie: Maggie Gyllenhaal
nach dem Roman „Frau im Dunkeln” von Elena Ferrante
Kamera: Hélène Louvart
Schnitt: Affonso Gonçalves
mit: Olivia Colman, Jessie Buckley, Dakota Johnson, Ed Harris, Peter Sarsgaard, Paul Mescal, Dagmara Dominczyk, Alba Rohrwacher

Trailer:

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a film by Behtash Sanaeeha, Maryam Moghaddam. In Farsi with German subtitles.

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Mina’s life is tur­ned upsi­de down when she lear­ns that her hus­band Babak was inno­cent of the crime for which he was exe­cu­ted. The aut­ho­ri­ties apo­lo­gi­se for the mista­ke and offer the pro­s­pect of finan­cial com­pen­sa­ti­on. Mina starts a silent batt­le against a cyni­cal sys­tem for her own and her daughter’s sake. Just as her money is run­ning out, a stran­ger named Reza knocks at her door, say­ing he has come to repay a debt he owed to Babak. Mina is guard­ed at first, but incre­asing­ly lets Reza into her life, una­wa­re of the secret that ties them to one ano­ther.
Behtash Sanaeeha and Maryam Moghaddam mas­terful­ly pre­sent guilt and ato­ne­ment, a clas­sic tro­pe of Iranian film, as a cine­ma of small, pre­cise ges­tu­res and spaces. Maryam Moghaddam excels in the role of a Mina caught bet­ween loneli­ne­ss and her strugg­le for self-determination.

Credits:

Ghasideyeh gave sefid
IR/FR 2020, 105 Min., far­si OmU
Buch und Regie: Behtash Sanaeeha, Maryam Moghaddam
Kamera: Amin Jafari
Schnitt: Ata Mehrad, Behtash Sanaeeha
mit Maryam Moghaddam, Alireza Sanifar, Pourya Rahimisam, Avin Purraoufi, Farid Ghobadi, Lili Farhadpour

Trailer:

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a film by Pawo Choyning Dorji. In Dzongkha with German subtitles.

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Struggling with his pro­fes­si­on as a tea­cher, Ugyen is sent to Lunana in nor­t­hern Bhutan for his final year of trai­ning. With a warm wel­co­me, the local child­ren try to win him over but they do not have much time.

Credits:

BT/CN 2021, 109 Min., Dzongkha OmU
Buch und Regie: Pawo Choyning Dorji
Schnitt: Hsiao-Yun Ku
Kamera: Jigme Tenzing
mit: Sherab Dorji, Ugyen Norbu Lhendup, Pem Zam, Kelden Lhamo Gurung

Trailer:

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a film by Moumouni Sanou. In Dioula with German subtitles .

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In der Kreisstadt Bobo-Dioulasso, in der Nähe von Burkina Fasos Hauptstadt Ouagadougou, geben Sexarbeiterinnen ihren Nachwuchs in die Obhut von Frau Coda, einer älte­ren Dame, die sich seit Jahrzehnten um Kinder küm­mert, deren Mütter nachts auf der Straße ihr Geld ver­die­nen. Dem Filmemacher Moumouni Sanou ist es über die Jahre gelun­gen, das Vertrauen aller Beteiligten zu gewin­nen und einen tie­fen Einblick in das Leben von Odile und Farida zu bekom­men, die bei­de auf die Dienste von Frau Coda ange­wie­sen sind. Zärtlich und sehr genau beob­ach­tet er alle Aspekte ihres Lebens, Hausarbeit, Freizeit, inti­me Momente des Mutterseins, auch ihre Beziehung zu Frau Coda und wie die­se ihre Kinder erzieht. Im Mittelpunkt des Films ste­hen die Erfahrungen von Frauen. Männer und Väter sind abwe­send, außer in den mal amü­san­ten, mal zutiefst erschüt­tern­den Geschichten, die Farida und Odile von ihrer Arbeit erzäh­len. Sanous zurück­hal­ten­der, respekt­vol­ler Blick macht die Vorzüge hori­zon­ta­len Filmemachens deut­lich, das sich durch größt­mög­li­che Aufmerksamkeit und Sensibilität den Protagonisten gegen­über auszeichnet.

Credits:

Garderie noc­turne
UV/FR/DE 2021, 67 Min., Dioula OmU,
Regie Moumouni Sanou
Kamera: Pierre Laval
Schnitt: François Sculier
mit: Odile Kambou, Fatim Tiendrebeogo 

Trailer:

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a film by Thomas Balmès. Starts December 9th at the fsk. In Dzongkha with German subtitles.

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16-year-old Peyangki has lived as a monk in a monas­tery in the moun­ta­ins of Bhutan sin­ce ear­ly child­hood. His smart­phone is the con­nec­tion to the world, in it he has seen ever­y­thing – and he has fal­len in love. He met Nguen on WeChat, the Chinese face­book. For months, the two exch­an­ge mes­sa­ges day and night, Peyangki sings for her, she reve­als her wis­hes and hopes for the future. It is first, total love that chan­ges ever­y­thing and turns the life of a teen­ager upsi­de down.

He for­got that he wan­ted to make money; for­got that he wan­ted to return from the monas­tery to his fami­ly. Now he wants to go to town, and meet Nguen – becau­se so far they’­ve only met vir­tual­ly. „Sing Me a Song” will accom­pa­ny the young monk on his jour­ney to the capi­tal and his first mee­ting with Nguen.

Credits:

FR/DE/CH 2019, 90 Min., Dzongkha OmU,
Regie & Kamera: Thomas Balmès,
Schnitt: Alex Cardon, Ronan Sinquin

Trailer:

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a film byMelanie Lischker. In German with eng­lish subtitles.

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“What must a woman have been through for her to sim­ply not have a role in her fami­ly any lon­ger?” Through Super‑8 and video mate­ri­al that her father had pains­ta­kin­gly coll­ec­ted, Melanie Lischker tells the sto­ry of her mother and, with it, that of an enti­re generation.

Credits:

DE 2021, 78 Min, ,
Regie & Buch: Melanie Lischker,
Kamera: Thomas Lischker, Melanie Lischker,
Schnitt: Mechthild Barth, Melanie Lischker

Trailer:

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a film by Jane Campion. Starts December 16th at the fsk. In English with German subtitles.

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Set in Montana in the 1920s, Jane Campion’s hot­ly anti­ci­pa­ted new film is an enthr­al­ling revi­sio­nist wes­tern awa­sh in sub­li­me expan­ses and nuan­ce, cap­tu­ring a land­scape and a peo­p­le dri­ven by the fan­ta­sy and fol­ly of wes­tern expan­si­on. Adapted from Thomas Savage’s cult novel of the same name, The Power of the Dog tells the sto­ry of suc­cessful ran­cher brot­hers George (Jesse Plemons) and Phil (Benedict Cumberbatch) Burbank, who­se rela­ti­onship sours when the more mild-man­ne­red George mar­ries local widow Rose (Kirsten Dunst).

Rose and her son Peter (Kodi Smit-McPhee) arri­ve at the Burbank ranch — see­mingly who­le­so­me and naï­ve — and attempt to fit into the family’s com­plex dyna­mic of new money, but are con­ti­nu­al­ly sty­mied by an uns­po­ken brot­her­ly bond. Phil’s past as a clas­sics scho­lar at Yale is bare­ly dis­cer­ni­ble as he sports a tough and dir­ty exte­ri­or, while fre­quent­ly refer­ring to the anti­cs of his men­tor Bronco Bill. Cumberbatch shi­nes in this fero­cious per­for­mance as a cow­boy to the core, who­se hurtful, macho quips toward Peter and his mother hint at a sim­me­ring men­ace and a capa­ci­ty for erra­tic cruel­ty and vio­lence; a kind of camou­fla­ge that only ser­ves to repress deep-sea­ted trau­ma and latent desire.

Proving once again that she is one of today’s grea­test film­ma­kers, Campion deli­vers a fasci­na­ting stu­dy of mas­cu­li­ni­ty and inter­nal tor­ment, sub­ver­ting the codes of the wes­tern — and of the male gaze — in a uni­ver­se that is always shif­ting in tone, ren­de­red with stun­ning cine­ma­to­gra­phy by Ari Wegner, a dis­ori­en­ting score by Jonny Greenwood, and a ter­ri­fic ensem­ble cast.

Credits:

NZ/AU 2021, 126 Min, engl. OmU
Regie: Jane Campion
Kamera: Ari Wegner
Schnitt: Peter Scibberas
mit: Benedict Cumberbatch
Jesse Plemons
Kirsten Dunst
Kodi Smit-McPhee

Trailer:

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