A father (Sergi López) and his son arrive at a rave deep in the mountains of southern Morocco. They’re searching for Mar — daughter and sister — who vanished months ago at one of these endless, sleepless parties. Surrounded by electronic music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading but they push through and follow a group of ravers heading to one last party in the desert. As they venture deeper into the burning wilderness, the journey forces them to confront their own limits.
Credits:
ES/FR 2025, 120 Min., span., frz. OmU Regie: Oliver Laxe Kamera: Mauro Herce Schnitt: Cristóbal Fernández Musik: Kangding Ray mit: Sergi López, Bruno Núñez, Stefania Gadda, Joshua Liam Henderson
Trailer:
Sirât | Trailer | Oliver Laxe | Sergi López | Bruno Nuñez
Milk has been an unprofitable commodity for a while now. Farming in general is suffering, and more and more farms are having to close. But Katinka is holding on to the family business, is being trained in farming, and is seeking her future in a place that remembers how things once were.
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DE 2024, 78 Min., deutsche Fassung Regie: Justine Bauer Kamera: Pedro Carnicer Schnitt: Semih Korhan Güner, Justine Bauer mit: Johanna Wokalek, Pauline Bullinger, Anne Nothacker, Sara Nothacker, Lore Bauer
In four seasons nature completes its cycle. A girl can become a woman. A belly can swell and become a creature. One can lose the path that led safely home, one can sail seas towards unknown lands. In four seasons one can die and be reborn. Vermiglio tells of the last year of the Second World War in a large family and how, by a paradox of fate, with the arrival of a refugee soldier it loses its peace at the very moment in which the world finds its own.
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IT/FR/BE 2024, 119 Min., ital. OmU Regie: Maura Delpero Kamera: Mikhail Krichman Schnitt: Luca Mattei mit: Tommaso Ragno, Giuseppe De Domenico, Roberta Rovelli, Martina Scrinzi, Orietta Notari, Carlotta Gamba
The film follows Amber Kumar Gurung and Guna Raj Kuikel, two Bhutanese bureaucrats, in their travels through the small Himalayan kingdom as census workers, measuring people’s happiness levels. They work for the Center for Gross National Happiness, a government institution which is tasked with collecting data on the citizens‘ happiness. This data is then used to inform the constitutionally-mandated goal of increasing national happiness.[5]
Along the way we meet Bhutan’s everyday people, such as a transgender bar singer, a wealthy farmer and his three wives, a teenage girl who worries about her mother’s alcoholism, or a recent widower who finds solace in religion. Through them we get a glimpse into the Bhutanese society and their views on happiness in face of adversity. We also explore Amber’s dreams and ambitions, primarily among them the dream of finding love.
After escaping from gym class, Simon finds himself on the banks of a river with a group of teenagers. Amidst the air mattresses and pointless chatter, time passes as sluggishly as the river water. Only when Marie appears and both are catapulted into the nearby riverside forest by an unexpected incident they escape the lethargic group and enter the timeless realm of the enchanted landscape.
„I would like to give a glimpse of something that counters the existential loneliness of our human present. Ultimately, redemption lies in the encounter.” Willy Hans
Credits:
DE/CH 2024, 94 Min., dt. OmeU Regie & Schnitt: Willy Hans Kamera: Paul Spengemann mit: Leo Konrad Kuhn, Alva Schäfer, Shadi Eck, Felix Maria Zeppenfeld, Darja Mahotkin, Marlene Becker u. a.
In this film two forms of artistic expression, improvised music and cinema direct, are interrelated. In both forms it is the moment that counts, the intuitive sense for what is happening in a space. Music and film come into existence out of an intense perception of the moment, not from the transformation of a preordained plan. In improvisation the plan is revealed only at the end. One finds it. The other connection concerns the work method: the film team as band. Much as musicians communicate via the music, our work, too, was realized within a very small and flexible team of equals. What mattered was exchange. And movement. Sometimes we started filming in the middle of the night, responding to a new idea that had arisen only minutes before. We had a fundamental feeling for what we wanted to do, for what kind of film this should be. And we followed that feeling. It was all very instinctive.
Credits:
CH/DE 1989, 90 Min., engl. OmU, Regie: Nicolas Humbert, Werner Prenzel Kamera: Oscar Salgado mit den Musiker*innen: Fred Frith, Iva Bittova, Tom Cora, Pavel Fajt, Eitetsu Hayashi, Zeena Parkins, Tim Hodgekison, Arto Lindsey, Bob Ostertag, John Zorn u.v.a.
An expansive and revelatory inside look at John Lennon and Yoko Ono’s life in Greenwich Village in the early 1970s, ONETOONE: JOHN&YOKO delivers an immersive cinematic experience that brings to life electrifying, never-before-seen material and newly restored footage of John and Yoko’s only full-length concert. Featuring mind-blowing music newly remixed and produced by Sean Ono Lennon, the film is a seismic revelation that will challenge pre-existing notions of the iconic couple.
Credits:
UK 2024, 100 Min., engl. OmU Regie: Kevin Macdonald Kamera: David Katznelson Schnitt: Sam Rice-Edwards
Armies of mounted beetles, arranged in rank and file. In drawers and glass containers, reptiles and birds sorted in the most magnificent forms. An almost macabre beauty is found in the catalogued sub-universes of the Natural History Museum Vienna: sub-universes that stand for the whole range of evolution and are part of the immense, expertly prepared collection of this world-renowned institution of knowledge. With an appropriately curious attitude, Joerg Burger devotes great attention to this cumulative archive of pure research for its own sake, its exhibits and underlying craftwork, but first and foremost to the people who work there,…
The journalist Leo hopes to finally make an international breakthrough with a report about a rebel group in Thailand. His friend Mawar helps him make local contacts. In return, Leo promises to support him in starting over in Germany. But when the editors sending him the photographer Julian without asking, Leo becomes increasingly entangled in a web of lies and morally questionable decisions.
Credits:
DE 2024, 75 Min., Deutsch, Englisch, Thai und Melayu mit deutschen Untertiteln, Regie: Hannes Schilling Schnitt: Marie Fontanel, Paul Gröbel Kamera: Falco Seliger mit: Ilja Stahl, Sabree Matming, Dennis Scheuermann
»Why haven’t I seen this before?« In the first scene of Copa 71, American international footballer Brandi Chastain stares at her tablet in amazement. She is watching footage of the first ever international women’s football tournament in Mexico City in 1971, Copa 71. Why is it that one of the best-attended women’s sporting events of all time has been forgotten?
In 1970, the first European tournament took place in Italy; SC 07 Bad Neuenahr represented Germany. A year later, international teams from Argentina, England, France, Denmark and Mexico competed against each other in Mexico. This purely commercial event, which was not backed by FIFA, proved a huge success, attracting crowds of 100,000 to the stadiums. Yet what could have been the launch pad for women’s football worldwide failed to attract any support. Another ten years would pass before the next international tournament. In Taipei, Taiwan, SSG 09 Bergisch Gladbach became world champions in 1981. This also paved the way for the formation of an official women’s national team in Germany in 1982. One thing to note though: women’s football was officially banned until 1970. Perhaps not surprising then that another decade passed before the first FIFA Women’s World Cup was held, in China. The final saw Brandi Chastain score the winning penalty to help the US take the trophy home.
The film presents archive footage of the tournament, plus interviews with the players of the time – impressive personalities who provide vivid accounts of the preparations and the tournament itself. A threatened walk-out by the Mexican team over pay at one point put the tournament in jeopardy, as did the tense atmosphere between the teams, still tangible when watching the film in the cinema.
Credits:
GB 2023, 91 Min., Englisch/Spanisch/Italienisch/Französisch mit deutschen Untertiteln, Regie: Rachel Ramsay und James Erskine Schnitt: Arturo Calvete und Mark Roberts Kamera: Angela Neil
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