Author: fsk

Sorry, this ent­ry is only available in Deutsch.

Unsere Dokfilmwoche, die ins­ge­samt sechs­mal jeweils Ende August statt­fand, ist vor­erst Geschichte. Sie wur­de von uns über­ar­bei­tet, zer­stü­ckelt und neu zusammengesetzt.

Herausgekommen ist Dok-Termin- 12 beson­de­re Dokumentarfilme ver­tei­len sich aufs Jahr. Jedes Werk wird zwei­mal zu sehen sein, im fsk-Kino und in einem wei­te­ren Kino der Indiekino-Gruppe. Gespräche mit den Macher*innen, Diskussionen, Einführungen und was sich sonst zur Unterstützung oder Weiterführung anbie­tet, ergän­zen die Veranstaltungen.

Das Programm ist nicht auf bestimm­te Themen, Formen oder Inhalte ausgerichtet.

Die geplan­ten Filme las­sen Zusammenhänge in neu­em Licht erschei­nen. Die gesam­te Haltung, wie Empathie und Umgang mit Protagonist*innen, der gewähl­te Blickwinkel ent­schei­den über ihre Relevanz. Wir freu­en uns über Angebote zum Dialog, oder die Einladung, beim Zuschauen eige­ne Bilder zu for­men sowie über die essay­is­ti­sche Annäherung an ein Thema.

Besondere und indi­vi­du­el­le Geschichten, die unauf­dring­lich auf einen kom­ple­xen äuße­ren Kosmos

wei­sen, sind gefragt, aber in der Umkehrung auch eine freie und wei­te Erzählung, in der sich der/die Einzelne wie­der­fin­det. Die Filme gehen vom Großen, Weiten ins Detail und las­sen vom Persönlichen, engen Rahmen aufs Allgemeine schlie­ßen, regio­nal wie weltweit. 

Hier die nächs­ten Termine:

#24: ALL THAT BREATHES

12.2.2023 15:00 Uhr
13.2.2023 18:00 Uhr im fsk Kino [Tickets]

#23 SELF-PORTRAIT: FAIRY TALE IN 47KM

29. & 30.1.2023 18:00 im fsk Kino [tickets]

#22 MEIN LEBEN NEIGT SICH GLEICH DEM MOND

8.& 9.1.2023 18:00 fsk Kino [tickets]

#21 A / O

So. 4.12. 18:00 fsk-Kino
Mo. 5.12. 18:00 Sputnik-Kino

#20 PARADIES, PARADIES [indiekino Club]

So. 13.11. 18:00 fsk-Kino
Mo. 14.11. 18:00 Sputnik-Kino

#19 GEOGRAPHIES OF SOLITUDE

So., 23.10. 18:00 fsk-Kino
Mo., 24.10. 19:00 Sputnik-Kino

DokTermin wird rea­li­siert mit Unterstützung aus Mitteln der Berliner Senatsverwaltung für Kultur und Europa

A film by Thomas Vinterberg. Starts July 22nd at the fsk. In Danish with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

What do Winston Churchill, Franklin D. Roosevelt, and Ernest Hemingway have in com­mon? All three are examp­les used by Martin, the midd­le-aged hero of DRUK, to demons­tra­te the trans­for­ma­ti­ve power of alco­hol – while also being excu­ses to get was­ted hims­elf. He works as a tea­cher at a Danish high school, whe­re he has lost his focus over the years and been strugg­ling with his fro­zen mar­ria­ge. Rather sur­pri­sin­gly, alco­hol beco­mes his cata­lyst for a new way of life – albeit only if he mana­ges not to mess up on it. As in most of their films, Vinterberg and his wri­ter Tobias Lindholm look out for ano­ther weak spot in bour­geois self-con­cep­ti­on, with “everyman’s favo­ri­te drug” taking the lime­light this time around. Their approach, howe­ver, is very Danish: DRUK is not the stu­dy of a loner, but rather a bit­ters­weet dra­ma of male fri­end­ship, as Martin and his tea­cher-pals try to con­trol their con­sump­ti­on within a group expe­ri­ment; they are out to rese­arch its social (and marital) effects, from one level of into­xi­ca­ti­on to the next. For Vinterberg, this is a ligh­ter, more loo­se­ly direc­ted film than usu­al, with a pen­chant for male debauch­ery. For Mikkelsen, it’s an espe­ci­al­ly rewar­ding part, as he fol­lows a tra­jec­to­ry from ten­der bro­ken­ness to the eupho­ria of a fan­ta­stic dance sce­ne à la Fred Astaire. (Dominik Kamalzadeh)

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Credits:

Druk, DK 2020, 110 Min., dän. OmU,
Regie: Thomas Vinterberg
Kamera: Sturla Brandth Grøvlen
Schnitt: Janus Billeskov Jansen
mit: Mads Mikkelsen, Thomas Bo Larsen, Lars Ranthe, Magnus Millang, Maria Bonnevie

Trailer:

nach oben

A film by Suzanne Lindon. Starts July 1st at the fsk.

[Credits] [Tickets & Termine] [Trailer]

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.

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Credits:

FR 2020, 74 Min. frz. OmU
Regie: Suzanne Lindon
Mit: Suzanne Lindon, Arnaud Valois, Frédéric Pierrot, Florence Viala

Trailer:

SEIZE PRINTEMPS (Trailer)

nach oben

a Film by Chloé Zhao. 

[Credits] [Tickets & Termine] [Trailer]

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)

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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

Trailer:

nach oben

ein Film von David Fincher. On July 3rd & 4th at the fsk. In Englich with German subtitles

[Credits] [Tickets & Termine] [Trailer]

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).

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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

Trailer:

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A film by Andreas Voigt.

[Credits] [Tickets & Termine] [Trailer]

Along the river Oder: Virulent ques­ti­ons about home­land and com­mu­ni­ty, ever­y­day life and poli­tics, asked with con­fi­dent casu­al­ness, pro­vi­de an account of the present.

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Credits:

DE 2020, 100 Min.,
Buch & Regie: Andreas Voigt
Kamera: Marcus Lenz, Maurice Wilkerling
Schnitt: Ina Tangermann

Trailer:

nach oben

a film by Jasmila Žbanić. 

[Credits] [Termine] [Trailer]

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: QUO VADIS, 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)

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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

Trailer:

nach oben

A film by Gesa Hollerbach. Starts July 1st at the fsk.

[Credits] [Tickets & Termine] [Trailer]

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

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Credits:

DE 2019, 93 Min.,
Buch und Regie: Gesa Hollerbach,
Schnitt: Carina Mergens,
Kamera: Jennifer Günther

Trailer:

nach oben

Sorry, this ent­ry is only available in Deutsch.

Ein Film von Maria Speth.

[indie­ki­no club] [Credits]  [Trailer]

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.

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Credits:

Deutschland 2010
Regie: Maria Speth
Drehbuch: Maria Speth
Kamera: Reinhold Vorschneider
Schnitt: Maria Speth

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Trailer:

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A film by Sabine Herpich. In German with English subtitles.

[Credits] [Termine] [Verleihseite] [Trailer]

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.

DOKKA dokKa-Preis der Stadt Karlsruhe
Duisburger Filmwoche: 3sat-Preis sowie eine loben­de Erwähnung der Arte-Jury
Nominiert für den Preis der deut­schen Filmkritik 2020

Verleih geför­dert durch:

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Credits:

DE 2020, 106 Min.

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)

Termine:

ab 12. August 2021

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Trailer (vor­läu­fig):

Kunst kommt aus dem Schnabel wie er gewach­sen ist from Büchner Filmproduktion on Vimeo.