Suzanne is 16 years old. She is bored with her peers. On the way to school she passes a theatre every day. There she meets a much older man who becomes her obsession. Because of their age difference, they think that they are no longer bored and fall in love. But Suzanne feels how she risks missing out on her life as a 16-year-old, which she has as much trouble living out as the others.
In previous films, Chloé Zhao already revisited the myths of the American West with a sensitive realism that was grounded in working with people from real life. With NOMADLAND, a recent winner of the Golden Lion in Venice, she achieves an even greater level of resonance, combining individual grief and the need for social routines with the idea of an ever-changing frontier: this time it’s people moving away from settlements, away from a culture in decline. We follow Frances McDormand in a surprisingly restrained lead performance that is all the more enthralling as a result: Fern, a woman of around 60 who has decided to live in a RV following the death of her husband. She’s not homeless, she says, but houseless, refusing a certain kind of sympathy. Most of the other characters, including part-time workers and people found unworthy by the system, are real. NOMADLAND shows a side of America rarely seen in cinema. We accompany destitute people working in areas such as an Amazon packing station or in trailer parks in which the dropouts form substitute communities. Despite its sharp observatory eye, the film is not seeking to make accusations about the excesses of an ailing system. Zhao is more interested in solidarity, about the sense of social support blooming on the edge of society. (Dominik Kamalzadeh)
Nomadland
Nomadland
Credits:
USA 2020, 108 Min., engl. OmU, Regie: Chloé Zhao Kamera: Joshua James Richards Schnitt: Chloé Zhao mit: Frances McDormand, David Strathairn, Linda May, Swankie, Bob Wells
1930’s Hollywood is reevaluated through the eyes of scathing social critic and alcoholic screenwriter Herman J. Mankiewicz as he races to finish the screenplay of Citizen Kane (1941).
Mank
Credits:
US 2020, 131 Min., engl. OmU Regie: David Fincher Kamera: Erik Messerschmidt mit: Gary Oldman Amanda Seyfried Lily Collins Tom Pelphrey Charles Dance Tuppance Middleton
Along the river Oder: Virulent questions about homeland and community, everyday life and politics, asked with confident casualness, provide an account of the present.
Grenzland
Credits:
DE 2020, 100 Min., Buch & Regie: Andreas Voigt Kamera: Marcus Lenz, Maurice Wilkerling Schnitt: Ina Tangermann
Aida is working as a translator for the UN at their camp in Srebrenica, when negotiations go awry and events quickly heat up. As the troops of the Bosnian Serbs led by Ratko Mladić mobilize, thousands of scared Bosnians flock to the gates of the camp to find shelter there. But the UN are not authorized to give any substantial help, and Aida becomes torn between her professional and private duties. The massacres committed by the Serbian army in Srebrenica in July, 1995 remain an open wound and a taboo to this day, denied by many, discussed and taught by very few people in the former Yugoslavia. The Bosnian War itself has a firm grip on the work of writer-director Jasmila Žbanić ever since her early days as a filmmaker. Here she turns history into a frantic (and very real) thriller that finds its narrative core in Aida’s desperate struggle to save her husband and sons. Three helpless men, one fighting woman: QUOVADIS, AIDA? offers an unmistakably feminist take on the story of the Srebrenica genocide. But in the end it is Serbian actress Jasna Djuricic whose presence, energy, and sheer dedication make this film take flight: A similarly fierce and spellbinding heroine will be hard to find anywhere else in Europe’s contemporary art house cinema. (Stefan Grissemann)
Quo Vadis, Aida?
Credits:
BA/AU/PL/DE/RO/FR/NO/TK/NL 2020, 104 Min. Regie & Buch: Jasmila Žbanić Kamera: Christine A. Maier Schnitt: Jarosław Kamiński mit: Jasna Đuričić, Izudin Bajrović, Boris Ler, Dino Bajrović, Boris Isaković. Johan Heldenbergh, Raymond Thiry
Life in the country has many facets and faces. Nature, peace, tradition. But reality today is often different, because structural change is destroying Europe’s villages. Schools are forced to close, communities are underfinanced, land speculation makes the farmers’ work harder and glaringly illuminated cities make the stars harder to see than a few years ago even in the hinterland. Locked-up cinemas, dilapidated houses, deserted train stations. Gesa Hollerbach’s unagitated documentary portrays four people and their lives. They come from very different backgrounds: a mayoress, an astronomer, a restaurateur, and a female farmer active in the European Parliament. In Saxony, in the Allgäu, in Austria. Ultimately, though, they are united in a joint, relentless struggle for their respective homes. The film wants to show that change can be imagined and implemented, that resistance bears its first fruits and that the tireless efforts of those courageous guardians of the countryside are not in vain. Today we see young families in the streets again and couples who deliberately choose to move to the country. The change has already begun.
Julia Weigl
Credits:
DE 2019, 93 Min., Buch und Regie: Gesa Hollerbach, Schnitt: Carina Mergens, Kamera: Jennifer Günther
Der Film porträtiert das Schicksal mehrerer Jugendlicher, die sehr früh – oft schon im Alter von 11, 12 oder 13 Jahren – entschieden haben, von zu Hause wegzugehen und für eine bestimmte Zeit oder dauerhaft auf der Straßezu leben: Sunny, Toni, Krümel, JJ, Stöpsel, Soja und Za.
Menschen also, von denen jeder einzelne mittlerweile auch schon neun Leben gelebt haben könnte. Versehen mit seelischen und körperlichen Beschädigungen. Doch trotz dieser Zerstörungen gibt es bei ihnen eine enorme Kraft, Talente und Fähigkeiten zu entdecken. Dieser Reichtum an persönlichen Möglichkeiten steht im Mittelpunkt des Films.
Die Lebensumstände der Jugendlichen auf der Straße werden deshalb auch nicht dokumentiert, sondern sie werden von ihnen in freier Wahl erzählt oder auch nicht. So kommen sehr persönliche, mitreissende und berührende Zeugnisse zustande.
Um den Fokus auf ihre Persönlichkeiten zu legen, erzählen sie vor neutralem Hintergrund im Studio von ihren Leben. Einige haben ihre Musikinstrumente mitgebracht und spielen spontan, andere zeigen Fotos oder andere künstlerische Arbeiten. So entstehen filmische Porträts wie in einer Ausstellung, einem Kunstraum.
Vorurteile und Klischeevorstellungen über „Penner“ und „Punks“ lösen sich auf. Die Jugendlichen werden in ihrer bewundernswerten Einmaligkeit erkennbar.
Und sie werden zu Stars – zu Recht.
9 Leben
[nbsp] Credits:
Deutschland 2010 Regie: Maria Speth Drehbuch: Maria Speth Kamera: Reinhold Vorschneider Schnitt: Maria Speth
At the Mosaik art studio in Berlin, artists with disabilities are absorbed in their work. Sabine Herpich observes the artists in the course of creation and directs her gaze at the institution itself: its processes, staff and spaces. The film succeeds in maintaining its focus on the art itself rather than the handicaps of its creators. It is around these works that the institution takes form, thus coming into view first and foremost as an institution for art, not one for people with disabilities. The idea of art becomes holistic, encompassing the people who make it as well as the places where it is created; it means looking at the works, and talking about them, but also art as work, complete with working hours and wage. The filmmaker herself is not invisible. She asks the artists about their thoughts, ideas, methods. As the artists before the camera meet the gaze of the filmmaker, a heightened sense of attention and sensitivity is produced – for the moods of the works, their creators and observers, as well as for this film about art itself, with its gentle, yet not timid, precise yet non-restrictive form.
Mit: Adolf Beutler, Suzy van Zehlendorf, Gabriele Beer, Till Kalischer, Nina Pfannenstiel u. a.
Regie, Kamera, Montage: Sabine Herpich O‑Ton Schnitt, Mischung: Marilyn Janssen Color Grading: Florian Lampersberger Titel- und Plakatgestaltung: Ulrike Damm Produktion: Sabine Herpich, Tobias Büchner
Freigegeben ohne Altersbeschränkunge (FSK Prüfkarte: pdf)
Berlin, 1931. A milieu between sublets and the underworld, where brothels are artists’ studios, Nazis are yelling abuse in the streets and Babelsberg is dreaming of producing “psychological cinema”. Life is surging, society is fermenting and corroding. As long as he still has a job, Jakob Fabian, who has a doctorate in German studies, writes advertising copy during the day and frequents the city’s more outlandish establishments with Stephan Labude at night. While his friend – who later confesses to having failed “in the subjects of life and profession” – is a go-getter when it comes to communism and sex, Fabian remains sober and distant. Without really believing in it, he is waiting for the “victory of decency”. His love for Cornelia is the only thing that makes him question his ironic fatalism. She becomes a ray of hope in his crumbling existence. Despite all the parallels with today’s maligned world, bringing Erich Kästner’s deeply sad, autobiographical “Fabian” – one of the most important novels of the Weimar Republic – out of the shadows is a challenge. Dominik Graf masters it brilliantly. His style is finely pointed, cold-bloodedly brisk and yet quietly melancholic. A film like a slowly turning disco ball, about the connections between sexual intercourse and an empty fridge – and the disintegration of the dream of happiness.
Fabian oder Der Gang vor die Hunde
Credits:
DE 2021, 176 Min., Regie: Dominik Graf Kamera: Hanno Lentz Schnitt: Claudia Wolscht mit Tom Schilling, Saskia Rosendahl, Albrecht Schuch, Meret Becker, Michael Wittenborn
Somewhere in Central Europe, perhaps in the vicinity of Vienna, in the near future. Ten-year-old Elli is an android, as we soon learn. She takes shape through programming and this turns her into a fantasy figure. Firstly for a man she calls “Daddy” with whom she lies by the pool and for whom she dresses up in the house at the edge of the forest. Elli is the vessel for his memories, which mean nothing to her, but everything to him. One day he runs after a strange echo and gets lost in the darkness while Elli, who follows him, is picked up by strangers. A new identity awaits her, a new ghostly existence – as a blank screen onto which others can project their loss of the paradise that is childhood. Austria’s new voice for the nexus between desire and the abyss, fear and mystery, feeling and emptiness is Sandra Wollner. As in Das unmögliche Bild, in her provocative second feature film she develops the plot from a complex basic constellation (not the other way around) and reconstructs families that never existed. And so the machine becomes a mirror of human emotion, and the film a captivating ladder into virtual and psychological realities.
Credits:
AU/DE 2020, 94 Min., Regie: Sandra Wollner Kamera: Timm Kröger Schnitt: Hannes Bruun mit Lena Watson, Dominik Warta, Ingrid Burkhard, Jana McKinnon
Wir verwenden Cookies, um unsere Website und unseren Service zu optimieren.
Funktionale Cookies
Always active
Die technische Speicherung oder der Zugang ist unbedingt erforderlich für den rechtmäßigen Zweck, die Nutzung eines bestimmten Dienstes zu ermöglichen, der vom Teilnehmer oder Nutzer ausdrücklich gewünscht wird, oder für den alleinigen Zweck, die Übertragung einer Nachricht über ein elektronisches Kommunikationsnetz durchzuführen.
Vorlieben
Die technische Speicherung oder der Zugriff ist für den rechtmäßigen Zweck der Speicherung von Präferenzen erforderlich, die nicht vom Abonnenten oder Benutzer angefordert wurden.
Statistiken
Die technische Speicherung oder der Zugriff, der ausschließlich zu statistischen Zwecken erfolgt.Die technische Speicherung oder der Zugriff, der ausschließlich zu anonymen statistischen Zwecken verwendet wird. Ohne eine Vorladung, die freiwillige Zustimmung deines Internetdienstanbieters oder zusätzliche Aufzeichnungen von Dritten können die zu diesem Zweck gespeicherten oder abgerufenen Informationen allein in der Regel nicht dazu verwendet werden, dich zu identifizieren.
Marketing
Die technische Speicherung oder der Zugriff ist erforderlich, um Nutzerprofile zu erstellen, um Werbung zu versenden oder um den Nutzer auf einer Website oder über mehrere Websites hinweg zu ähnlichen Marketingzwecken zu verfolgen.
Deutsch