A film by Florian Heinzen-Ziob. In German.

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GERMAN CLASS takes us back to school. Over the cour­se of six months the film clo­se­ly fol­lows class tea­cher Ute Vecchio as she pre­pa­res child­ren who have just arri­ved from other count­ries for the German school sys­tem. Small suc­ces­ses, lar­ge set-backs, school pranks and the loo­ming thre­at of depor­ta­ti­on – the chal­lenges the child­ren face are just as diver­se as the count­ries and cul­tures they ori­gi­na­te from.The ambi­tious Pranvera, who even beats the boys in arm wrest­les, has to suf­fer the depor­ta­ti­on of her best fri­end. Ferdi, who dreams of working as a car mecha­nic, only has four months left to catch up on four years’ worth of school­work. And class clown Kujtim has alre­a­dy mana­ged to learn four lan­guages in his eventful life­time, but can­not wri­te any of them.

GERMAN CLASS is a tou­ch­ing por­trait of lear­ning, adap­ting and gro­wing in a new lan­guage and in a new socie­ty. A fresh look at an insti­tu­ti­on that we think we all know well – school.

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Credits:

DE 2018, 89 Min., 
Regie & Schnitt: Florian Heinzen-Ziob
Kamera: Enno Endlicher

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• noch kei­ne oder kei­ne mehr 

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Klasse Deutsch / TRAILER from Florian Heinzen-Ziob on Vimeo.

A film by Radu Jude. In Romanian with German subtitles.

[Credits] [Indiekino Club] [Trailer]

Romania took an acti­ve part in the Holocaust – today the coun­try is in com­ple­te deni­al. An absurd mora­li­ty tale about sel­ec­ti­ve memo­ry in today’s Europe. Under General Antonescu, the mas­si­ve anti-Semitism pre­sent in Romanian socie­ty was made offi­ci­al govern­ment poli­cy, yet his role and that of his govern­ment in World War II are glo­ri­fied to this day. A young direc­tor wants to clear up the­se natio­nal myths and to this end plans a theat­re pro­duc­tion. What with unwil­ling extras, patro­ni­zing patrons and the cha­os in the direc­tor’s own life, the per­for­mance desi­gned as a wake-up call muta­tes step by step to a farce.

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Credits:

RO, BG, DE, FR 2018, 140 Min.,
rum.OmU
Regie, Buch: Radu Jude
Kamera: Marius Panduru
Schnitt: Cătălin Cristuţiu
mit: Ioana Iacob, Alexandru Dabija, Alex Bogdan

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• noch kei­ne oder kei­ne mehr 

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A film by Jia Zhang-Ke. In Chinese with German subtitles.

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Set in 2001, Ash Is Purest White is a fusi­on of inno­va­ti­on, enter­tain­ment, and social cri­tique. Qiao (Zhao Tao) lives in a town tumb­ling into eco­no­mic decli­ne. She con­cerns hers­elf litt­le with such mat­ters becau­se her boy­fri­end, Bin (Liao Fan), is a dashing gangs­ter who works for a cor­rupt pro­per­ty deve­lo­per. After his boss is mur­de­red, Bin ascends in rank and finds hims­elf vul­nerable to rival hosti­li­ties. When Bin and Qiao are arres­ted, she makes a fateful decis­i­on: she takes the heat. After five years in pri­son, she emer­ges to find her world has trans­for­med. Her for­mer mafia asso­cia­tes have moved into legi­ti­ma­te busi­nesses, while Bin has found ano­ther moll. Qiao seeks reven­ge, but, more important­ly, she sear­ches for a new iden­ti­ty in a chan­ging China — a search that will take her to Three Gorges Dam and toward a powerful revelation.

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Credits:

CN/FR 2018, 141 Min., chin. OmU
Regie: Jia Zhang-Ke
Kamera: Eric Gautier
mit: Tao Zhao, Fan Liao, Zheng Xu, Casper Liang
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A film by Marie Kreutzer. In German with English subtitles.

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Lola is almost thir­ty. A suc­cessful manage­ment con­sul­tant, she is con­stant­ly on the move bet­ween the com­pa­nies she is tas­ked with res­truc­tu­ring. Her chic apart­ment in Vienna is more of a mail­box and a laun­de­ret­te than a home. A hundred working hours a week is not uncom­mon in addi­ti­on to five ses­si­ons at the gym, expen­si­ve din­ners with cli­ents and nights spent in ste­ri­le hotels. Her care­er, which she is advan­cing with cle­ver­ness, effi­ci­en­cy and ruthl­ess cun­ning, appears to be unstoppable. She appli­es a simi­lar­ly disci­pli­ned approach when it comes to mana­ging her pri­va­te life. This means that nobo­dy is allo­wed to know about the exis­tence of her older sis­ter Conny, who has been suf­fe­ring from men­tal ill­ness for a long time and who never lea­ves her apart­ment. But when Conny attempts to com­mit sui­ci­de, Lola sear­ches for a way to be the­re for her.
Marie Kreutzer’s por­trait of the jet-set­ting Lola reve­als that the­re is some­ti­mes just a thin line sepa­ra­ting polar oppo­si­tes such as order and cha­os, rise and fall – even for someone who thri­ves in a socie­ty fix­a­ted on achievement.

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Credits:

AT 2019, 108 Min.
Regie, Buch: Marie Kreutzer
Kamera: Leena Koppe
Schnitt: Ulrike Kofler
mit:Valerie Pachner Pia Hierzegger Mavie Hörbiger Michelle Barthel

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• noch kei­ne oder kei­ne mehr 

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A film by Nicolas Philibert. In French with German subtitles

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Every year, thou­sands of stu­dents in France begin trai­ning in nur­sing care. After being accept­ed to the Institut de Formation en Soins Infirmiers, their stu­dies con­sist of cour­ses in theo­ry, prac­ti­cal exer­ci­s­es and ser­vice in hos­pi­tals. It is a dif­fi­cult and inten­si­ve trai­ning cour­se during which they gain exten­si­ve know­ledge and skills, prac­ti­cal pro­ces­ses and prepa­re them­sel­ves to take on gre­at respon­si­bi­li­ty. The film accom­pa­nies the ups and downs of such an edu­ca­ti­on in which often very young peo­p­le are con­fron­ted with human fra­gi­li­ty, suf­fe­ring, dise­a­se and the weak­ne­s­ses of body and soul. It’s about us and our humanity.

Credits:

De chaque instant
FR 2018, 105 Min.,
Regie, Kamera, Schnitt: Nicolas Philibert 

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• noch kei­ne oder kei­ne mehr 

Trailer:

Sorry, this ent­ry is only available in Deutsch.

Ein Film des FrauenLesbenFilmCollectifs LasOtras.

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Die „Rote Zora” war in den 1970er und 1980er Jahren eine mili­tan­te Frauengruppe in der BRD, die sich klan­des­tin orga­ni­sier­te. Entstanden ist die femi­nis­ti­sche Gruppe aus dem Kontext der Revolutionären Zellen. Ihre Aktivitäten rich­te­ten sich u.a. gegen die all­täg­li­che Gewalt gegen Frauen, gegen Gen- und Reproduktionstechnologien, Bevölkerungspolitik und inter­na­tio­na­le Ausbeutungsbedingungen als Ausdruck patri­ar­cha­ler Herrschaft. Zentral waren die Selbstermächtigung der FrauenLesben und der Bruch mit der zuge­schrie­be­nen Friedfertigkeit.

Erzählungen von ver­schie­de­nen Zeitzeuginnen, Interviews mit einer Historikerin und ehe­ma­li­gen Zoras las­sen die Geschichte der „Roten Zora” und der dama­li­gen Frauenbewegung wie­der leben­dig wer­den. Historische Aufnahmen der Frauen- und Studentinnen*bewegung in der BRD brin­gen Erinnerungen an die dama­li­gen Kämpfe zurück. FrauenLesben aus ande­ren Ländern berich­ten über ihre Begegnung mit die­ser Politik heute.

Der Film zeigt, dass vie­le Themen der Roten Zora hoch aktu­ell sind und bie­tet viel span­nen­den Diskussionsstoff zum heu­ti­gen Umgang mit die­ser Geschichte.

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Credits:

DE 2019, 77 Min.,
FrauenLesbenFilmCollectif LasOtras

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A film by Henrika Kull. In German.

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At a par­ty, Maryam and Jibril exch­an­ge glan­ces. Years later, Maryam hap­pens to meet the same young man again when she is asked to deli­ver a par­cel to someone in pri­son. The reci­pi­ent is none other than Jibril, who is ser­ving a sen­tence of seve­ral years. The attrac­tion bet­ween this sin­gle mother-of-three and the inma­te is just as strong as it was when they first met. Maryam plun­ges enthu­si­a­sti­cal­ly into an initi­al­ly lar­ge­ly pla­to­nic romance, which on the one hand may satis­fy cer­tain lon­gings on both sides, yet on the other also awa­kens desi­re. But having a rela­ti­onship with someone who isn’t the­re and who does­n’t par­ti­ci­pa­te in her life, and who she can’t even real­ly get to know, is a chall­enge for Maryam. Jibril too finds his situa­ti­on as a pri­soner incre­asing­ly dif­fi­cult to bear.
Henrika Kull stages the inti­ma­te sce­nes of her first dra­ma­tic fea­ture in impres­si­ve­ly natu­ra­li­stic clo­se-ups and, uti­li­sing the par­ti­cu­lar situa­ti­on of her two prot­ago­nists, rai­ses a big ques­ti­on: when exact­ly do you real­ly know someone – or do you just fall in love with your dream of being in love?

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Credits:

DE 2018, 83 Min.,
Regie, Buch, Schnitt: Henrika Kull 
Kamera: Carolina Steinbrecher 
mit: Susana Abdulmajid Malik Adan ( Doua Rahal Emna El-Aouni Regina Schulte am Hülse

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• noch kei­ne oder kei­ne mehr 

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A film by Mohammad Rasoulof. In Farsi with German subtitles.
The scree­ning on Sunday 19th is unfort­u­na­te­ly cancelled.

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Reza hat sich aus dem mora­li­schen Sumpf der Stadt zurück­ge­zo­gen und führt mit sei­ner Frau und sei­nem Kind ein beschau­li­ches Leben als Fischzüchter in einem Dorf im Norden Irans. Doch auch auf dem Land herr­schen Korruption und Gewalt. Ein Großfabrikant, der bes­te Beziehungen zur Regierung unter­hält, zwingt die loka­len Bauern und klei­nen Unternehmer mit allen Mitteln in ein Netz der Abhängigkeit. Reza ist fest ent­schlos­sen, sich dem Filz fern­zu­hal­ten – doch eines Tages sind sei­ne Fische tot. Eindrücklich erzählt der Film, wie kor­rup­te Kartelle aus Macht und Geld das Leben im Iran beherrschen.

A Man of Integrity gewann bei den Internationalen Filmfestspielen von Cannes den Hauptpreis der Sektion »Un Certain Regard«.

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Credits:

Lerd, IR 2018, 117 Min., Frasi OmU
Regie: Mohammad Rasoulof
Schnitt: Meysam Muini, Mohammadreza Muini
Kamera: Ashkan Ashkani
mit: Reza Akhlaghirad, Nasim Adabi, Zeinab Shabani

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• noch kei­ne oder kei­ne mehr 

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A Film by Richard Billingham. In English with German subtitles.

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On the out­skirts of Birmingham and the mar­gins of socie­ty, the Billingham fami­ly per­form extre­me ritu­als and break social taboos as they mudd­le through a life deci­ded by fac­tors bey­ond their con­trol. Based on direc­tor and pho­to­grapher Richard Billingham’s memo­ries, the film focu­ses on his par­ents Ray and Liz, their rela­ti­onship and its impact on Richard and his youn­ger brot­her Jason as they grow up in a Black Country coun­cil flat.

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Credits:

GB 2018, 108 Min., engl. OmU
Regie: Richard Billingham 
Joshua Millard-Lloyd
Kamera: Daniel Landin 
Schnitt: Tracy Granger 
mit: Ella Smith , Justin Salinger , Patrick Romer , Deirdre Kelly , Tony Way , Sam Gittins

Termine:

• noch kei­ne oder kei­ne mehr 

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