a film by Maryam Touzani. Starts In Arabic with German subtitles.

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Abla runs a popu­lar bak­ery in the nar­row streets of Casablanca’s old town. Mother of eight-year-old Warda, the wido­wed for­ty-some­thing is facing a busy day-to-day life. When her rou­ti­ne is bro­ken by a knock on the door, she is still una­wa­re that her life is about to chan­ge fore­ver. On the door­step stands Samia, a pregnant young woman asking for a place to stay in exch­an­ge for help around the house and in the bak­ery. While Abla does not want to enga­ge with this stran­ger pro­mi­sing not­hing but trou­ble, litt­le Warda imme­dia­te­ly takes to Samia. One night tur­ning into seve­ral, the cool­ly detached Abla incre­asing­ly fails to hide the fact that Samia is an unex­pec­ted asset to her bak­ery busi­ness as well as her enti­re life. Adam is a bit­ters­weet dra­ma, car­ri­ed by the excep­tio­nal Belgian-Moroccan star actress Lubna Azabal.

Credits:

MA/FR 2019, 98 Min., arab. OmU
Regie: Maryam Touzani
Kamera: Adil Ayoub
Schnitt: Julie Naas
mit: Douae Belkhaouda, Aziz Hattab, Hasna Tamtaoui u. a.

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a film by Ryûsuke Hamaguchi. In Japanese with German subtitles.

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2021 has been an annus mira­bi­lis for Ryusuke Hamaguchi, who has pre­mie­red two fea­ture films, both very dif­fe­rent, both equal­ly mas­ter­ly. After the the­ma­ti­cal­ly con­nec­ted tri­ptych of WHEEL OF FORTUNE AND FANTASY, Hamaguchi del­ves into more expan­si­ve­ly nove­li­stic ter­ri­to­ry, alt­hough the source is a short sto­ry by Haruki Murakami.
An exten­ded pre­face intro­du­ces us to a Tokyo cou­ple, actor and direc­tor Yusuke and screen­wri­ter Oto, who­se pen­chant for ero­tic sto­rytel­ling hints at pos­si­bi­li­ties that will con­ti­nue to trou­ble Yusuke. Two years later, he arri­ves in Hiroshima to direct Chekhov’s Uncle Vanya at a theat­re fes­ti­val and is assi­gned a young woman named Misaki as his dri­ver. After a trou­bled rehear­sal pro­cess and Yusuke’s pro­blems with a trou­ble­so­me young actor, Yusuke and the initi­al­ly reser­ved Misaki begin to com­mu­ni­ca­te.
A three-hour run­ning time allows Hamaguchi to uns­pool a subt­ly, den­se­ly pat­ter­ned nar­ra­ti­ve to maxi­mum effect, with Chekhov’s dra­ma sub­li­mi­nal­ly reso­na­ting as a back­ground sub­text. Quietly moving, intellec­tual­ly invol­ving, DRIVE MY CAR is argu­ab­ly the most matu­re and most ele­gant dra­ma of 2021. (Jonathan Romney)

Credits:

ドライブ・マイ・カー Doraibu mai kâ
JP 2021, 179 Min., japan. OmU
Regie: Ryûsuke Hamaguchi
Drehbuch: Ryûsuke Hamaguchi, Haruki Murakami, Takamasa Oe
Kamera: Hidetoshi Shinomiya
Schnitt: Azusa Yamazaki
mit: Hidetoshi Nishijima, Tôko Miura, Masaki Okada, Reika Kirishima

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a film by Srdan Golubovic. In Serbian with German subtitles

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After Nikola’s wife has attempt­ed sui­ci­de, the casu­al labourer’s two child­ren are taken away from him and pla­ced with fos­ter par­ents. A tem­po­ra­ry arran­ge­ment, it is alle­ged. However, fol­lo­wing an assess­ment of Nikola’s housing con­di­ti­ons, the head of the social wel­fa­re office in their small Serbian vil­la­ge deci­des that Nikola is too poor to pro­vi­de an ade­qua­te living envi­ron­ment for his child­ren. The reti­cent Nikola deci­des to lodge a com­plaint with the Ministry of Social Affairs in Belgrade. He is deter­mi­ned to cover the 300 kilo­me­t­res to the capi­tal on foot. In this way, he intends to show the aut­ho­ri­ties how far he is wil­ling to go for his child­ren – lite­ral­ly.
Srdan Golubović finds authen­tic, moving images to tell this tale of ine­qua­li­ty. His quiet but resi­li­ent prot­ago­nist explo­res not only the coun­try, but also the boun­da­ries bet­ween right and wrong. Resolved not to give in to his moun­ting despe­ra­ti­on, this ten­acious father embarks on a heroic jour­ney that rede­fi­nes the word hero.

Credits:

RS, FR, DE, SL, HR, BA 2020, 99 Min., ser­bi­sche OmU
Regie: Srdan Golubovic
Drehbuch: Srdan Golubovic, Ognjen Svilicic
Kamera: Aleksandar Ilić
Schnitt: Petar Marković
mit: Goran Bogdan, Boris Isaković,
Nikola Rakocevic, Milan Maric
Länge: 99 Minuten

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a film by Salomé Jashi. In Gerogian with German subtitles.

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A powerful man, who is also the for­mer prime minis­ter of Georgia, has deve­lo­ped an exqui­si­te hob­by. He coll­ects cen­tu­ry old trees along Georgia’s coast­li­ne. He com­mis­si­ons his men to uproot them and bring them to his pri­va­te gar­den. Some of the­se trees are as tall as 15-flo­or-buil­dings. And in order to trans­plant a tree of such dimen­si­ons some other trees are chop­ped down, elec­tric cables are shifted and new roads are paved through man­da­rin plantations.

The film moves the con­cept of uproo­ting from its meta­pho­ri­cal mea­ning into an oppres­si­ve, tan­gi­ble and yet sur­re­al reality.

Credits:

CH/DE/GE 2021, 92 Min., geor­gi­sche OmU
Regie und Buch: Salomé Jashi
Kamera: Goga Devdariani, Salomé Jashi
Schnitt: Chris Wrightenn

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A film by Sebastian Meise. In German with English subtitles.

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In post-war Germany Hans is impri­so­ned again and again for being homo­se­xu­al. Due to para­graph 175 his desi­re for free­dom is sys­te­ma­ti­cal­ly des­troy­ed. The one ste­ady rela­ti­onship in his life beco­mes his long time cell mate, Viktor, a con­vic­ted mur­de­rer. What starts as revul­si­on grows into some­thing cal­led love.

Credits:

Deutschland/Österreich 2021, 116 Min.
Regie: Sebastian Meise
Kamera: Crystel Fournier
Schnitt: Joana Scrinzi
Buch: Thomas Reider & Sebastian Meise
mit: Franz Rogowski, Georg Friedrich, Anton von Lucke, Thomas Prenn

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A Film by Kelly Reichardt. In English with German subtitles.

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The waters of a river flow pla­cid­ly by. On its banks, time rewinds, brin­ging buried sto­ries to light. At the begin­ning of the 19th cen­tu­ry, fur trap­pers are not the only ones to ven­ture into the wilds of Oregon; there’s also a taci­turn cook, a loner who finds an able entre­pre­neur and fri­end in a Chinese immi­grant. The two start a small trade in “oily cakes”, which turns out to be a gre­at suc­cess in the rough West. The only catch: the raw mate­ri­al they use is acqui­red ille­gal­ly. Director Kelly Reichardt co-wro­te the screen­play with Jonathan Raymond, aut­hor of the novel upon which the film is based. First Cow con­firms her talent for tel­ling sto­ries of an America fil­led with pro­mi­se, far from the big cities. Like a Western, the film pays tri­bu­te to cha­rac­ters on the mar­gins of socie­ty who must take desti­ny into their own hands – only here, ins­tead of guns, there’s a spoon­ful of honey and a pail of milk. Thus, the­se out­laws pre­sent the fron­tier, that screen onto which America pro­jects its natio­nal dreams, not as a place of eco­no­mic or mate­ri­al con­quest, but as a mee­ting place. A sple­ndid alter­na­ti­ve sce­na­rio, which today acqui­res par­ti­cu­lar civil and poli­ti­cal significance.

Credits:

US 2019, 122 Min., engl. OmU
Regie: Kelly Reichardt
Kamera: Christopher Blauvelt
mit: John Magaro, Orion Lee, Toby Jones, Scott Shepherd, Gary Farmer, Lily Gladstone

Trailer:

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Sorry, this ent­ry is only available in Deutsch.

Ein Film von Andrea Arnold.

[indie­ki­no Club]

Der Klassiker Wuthering Heights – Sturmhöhe, ein­zi­ger Roman der jun­gen Emily Brontë, wur­de schon oft ver­filmt, hier aber erst­mals von einer Regisseurin. Es war ein die Erfüllung eines Traumes der Britin Andrea Arnold, bis­her bekannt für zeit­ge­nös­si­sche Regiearbeiten. Sie behan­delt nur die ers­te Hälfte des Buches, und schaff­te ein radi­ka­les Werk, das beim Filmfest Venedig ver­stör­te und begeis­ter­te. Nicht, dass die Rolle des auf­ge­nom­me­nen Sohnes Heathcliff mutig und nicht inkon­se­quent von einem schwar­zen Schauspieler inter­pre­tiert wird, son­dern die extre­me Reduzierung des Stoffes auf die Kraft der Elemente, die Sinnlichkeit der Darstellung, die Entkleidung von jeder Romantik ohne Verleugnung des Emotionalen machen den Film zu einer beson­de­ren Erfahrung. Die Geschichte der aus­sichts­lo­sen Liebe zwi­schen dem frem­den Jungen und Cathy, Tochter des Hauses, ist geprägt von Standesdünkel und Verzweifelung, Macht und Ohnmacht und kor­re­spon­diert mit der rau­hen und auch unwirt­li­chen, aber reiz­vol­len Umgebung  der Yorkshire Dales. Die Regisseurin drang dabei vor zum Kern des Romans, der bei sei­ner Veröffentlichung 1847 in die vik­to­ria­ni­sche Epoche ein­schlug wie ein Blitz. 
„Arnolds Interpretation erlangt ihren Zauber durch eine Achtsamkeit für die ein­zel­nen Ingredienzien … . Dieses erreicht sie – obschon das para­dox erscheint – gera­de durch einen pro­non­cier­ten Realismus der Darstellung, der fern jeder Verklärung ist. Dazu gehört auch ein fei­nes Gehör für die viel­fäl­ti­gen Naturgeräusche sowie der Verzicht auf sol­che Musik, die nicht zur Handlung gehört, wie etwa ein­fa­che Lieder, die Cathy singt. Erst zum Abspann ertönt der weh­mü­ti­ge Song «The Enemy» der Band Mumford & Sons.“  Susanne Ostwald, NZZ 

GB 2011, 128 Min., engl. OmU
Regie: Andrea Arnold
mit Kaya Scodelario, Nichola Burley, Steve Evets, James Howson, Shannon Beer, Solomon Glave

a film by Yael Reuveny. In Hebrew with German subtitles.

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In „Schnee von Gestern“ nahm sich die Regisseurin der Geschichte ihrer Großmutter und deren Bruder an. Diesmal fährt sie zurück in ihre Geburtstadt, um Gleichaltrige nach ihrem bis­he­ri­gen Lebensweg zu befra­gen. 32 Kinder gab es 1988 in der Klasse von Reuveny, die damals 8 Jahre alt war, in einer Schule in Petach Tikwa, was soviel bedeu­tet wie „Tor der Hoffnung.“ Hoffnungsträger waren die Kinder, die ihre Familien und den Staat Israel stär­ken und gemein­sam eine fried­li­che und siche­re Zukunft auf­bau­en soll­ten. In Super-8-Aufnahmen aus der Kindheit und poin­tier­ten Kurzporträts ihrer dama­li­gen Mitschülerinnen und Mitschüler über­denkt die in Berlin leben­de Filmemacherin Yael Reuveny ihr eige­nes Selbstverständnis und das ihrer Generation, auch ange­sichts der andau­ern­den Kriege und Konflikte.

Credits:

DE/IL 2020, 84 Min., hebräi­sche OmU
Regie & Buch Yael Reuveny

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a film by Ildikó Enyedi. In English with German subtitles.

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Jacob Störr, a sea cap­tain, makes a bet in a café with a fri­end, to mar­ry the first woman who enters the place. And in walks Lizzy.

Credits:

The Story of my Wife
HU / FR/ DE 2021, 169 Min., engl. OmU
Regie: Ildikó Enyedi
Buch: Ildikó Enyedi, nach dem Roman von Milán Füst
Kamera: MARCELL RÉV
Schnitt: KÁROLY SZALAI
mit: Léa Seydoux, Gijs Naber, Louis Garrel, Luna Wedler, Ulrich Matthes

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a film by Mia Hansen-Løve. In English with German subtitles.

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BERGMAN ISLAND fol­lows a cou­ple of American film­ma­kers, Chris (Vicky Krieps) and Tony (Tim Roth), who retre­at to the mythi­cal Fårö island for the sum­mer. In this wild, breath­ta­king land­scape whe­re Bergman lived and shot his most cele­bra­ted pie­ces, they hope to find inspi­ra­ti­on for their upco­ming films. As days spent sepa­ra­te­ly pass by, the fasci­na­ti­on for the island ope­ra­tes on Chris and sou­ve­nirs of her first love resur­face. Lines bet­ween rea­li­ty and fic­tion will then pro­gres­si­ve­ly blur and tear our cou­ple even more apart.

Credits:

FR/BE/SW/DE/MX 2021, 112 Min., engl. OmU
Regie & Buch: Mia Hansen-Løve
Kamera: Denis Lenoir
Schnitt: Marion Monnier
mit: Vicky Krieps, Tim Roth, Mia Wasikowska, Anders Danielsen Lie, Melinda Kinnaman, Joel Spira

Trailer:

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