A film by Visar Morina.

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First, there’s a dead rat han­ging on the door of the house whe­re Xhafer lives with his wife and child­ren. Then the emails he sends are ‘acci­den­tal­ly’ no lon­ger being recei­ved. The signs that this phar­maceu­ti­cal engi­neer is being bul­lied and haras­sed in his work­place are incre­asing. Even if neither his wife nor his col­le­agues seem to belie­ve him, this man, who is ori­gi­nal­ly from Kosovo but who has been well inte­gra­ted for years, feels more and more out­cast from his (German) com­mu­ni­ty. Or is he losing touch with reality?
In his second fea­ture-length film, direc­tor Visar Morina dis­sects the psy­cho­lo­gi­cal effects of social exclu­si­on and pres­ents them here as an inter­play bet­ween belon­ging and ali­en­ati­on. Morina com­bi­nes subt­le images that gra­du­al­ly shift accor­ding to his protagonist’s sta­te with meti­cu­lous per­for­man­ces from his ensem­ble, to descri­be the importance of per­so­na­li­ty when it comes to inte­gra­ting into ano­ther socie­ty, and how quick­ly cracks can deve­lop in the sup­po­sedly firm con­s­truct that is identity.

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Credits:

Deutschland / Belgien / Kosovo 2020, 121 Min., deutsch, alba­ni­sche Om
Regie: Visar Morina
Kamera: Matteo Cocco
Montage: Laura Lauzemis, Hansjörg Weißbrich, Visar Morina
mit Mišel Matičević, Sandra Hüller, Rainer Bock, Thomas Mraz

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• noch kei­ne oder kei­ne mehr 

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A film by Nuri Bilge Ceylan. In Turkish with German subtitles.

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Sinan is pas­sio­na­te about lite­ra­tu­re and has always wan­ted to be a wri­ter. Returning to the vil­la­ge whe­re he was born, he pours his heart and soul into scra­ping tog­e­ther the money he needs to be published, but his father’s debts catch up with him.

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Credits:

Ahlat Agaci
Türkei 2018, 188 Min., türk. OmU
Regie: Nuri Bilge Ceylan
Schnitt: Nuri Bilge Ceylan
Kamera: Gökhan Tiryaki 
mit: Aydin Doğu Demirkol, Murat Cemcir, Bennu Yıldırımlar, Hazar Ergüçlü

Termine:

• noch kei­ne oder kei­ne mehr 

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Trailer:

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A film by Patricio Guzmán. In Spanish with German subtitles.

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After Patricio Guzmán had tra­vel­led to the Atacama Desert in the north of Chile for «Nostalgia de la luz» and to the deepest south for «El botón de nácar» in Patagonia, he deals in the last part of the tri­lo­gy on his home­land with the cen­tral chain of Andes and the memo­ry of the moving images. All his films are per­so­nal, but in some respects «La cor­dil­lera de los sue­ños» is the most inti­ma­te, lea­ding the artist back to the ruins of the house of his childhood.

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Credits:

CL 2019, 85 Min., span. OmU
Regie: Patricio Guzmán
Drehbuch Patricio Guzmán
Schnitt: Emmanuelle Joly
Musik: Miranda y Tobar
Kamera: Samuel Lahu 

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A film by Caroline Hellsgard.

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Claire (13) is vaca­tio­ning with her sis­ter Zoe (15) and mother Sophie (40) at a resort hotel in sou­thern Spain. Sophie spends her days by the pool and shows a mini­mum of inte­rest in her daugh­ters. In the begin­ning Claire clings to her older sis­ter Zoe, who mer­ciful­ly lets her tag along. But when Zoe meets a boy her own age, Claire is left alo­ne. By the beach Claire befri­ends Amram, a young Senegalese beach ven­dor. As their rela­ti­onship deepens, Claire tri­es to help him, but unin­ten­tio­nal­ly ends up making his life even more complicated.

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Credits:

Deutschland/Polen 2019, 92 Min.
Regie & Buch: Caroline Hellsgard
Kamera: WojciechStaron
Schnitt: RuthSchönegge
mit: Zita Geier, Gedion Odour Wekesa, Sabine Timoteo, Nicolais Borger, Flora Li Thiemann, Malik Blumenthal

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Trailer:

Sorry, this ent­ry is only available in Deutsch.

[indie­ki­no Club]

“Das Ende einer Ozu-Retrospektive ist immer ein per­sön­li­cher Verlust.” schrieb ein­mal Fritz Göttler, Filmredakteur der SZ.. – Wir stim­men dem zu, und weil die letz­te aus­führ­li­che Retro in Berlin schon über 6 Jahre her ist, steht jetzt als Trost einer sei­ner bes­ten, und wohl auch sein bekann­tes­ter Film zwei Wochen lang als Wiederaufführung auf unse­rem Programm : „Tokyo Monogatari – Reise nach Tokio,” eine behut­sa­me, in ruhi­gem Bildrhythmus ent­fal­te­te Studie über das Auseinanderleben einer Familie, über die Begegnung von Tradition und Moderne. Ein Elternpaar vom Lande besucht die erwach­se­nen Kinder in der Stadt, und sie sind nicht sehr will­kom­men. Man bemüht sich zwar um sie und strickt Programme, aber schon ein paar Tage spä­ter wer­den sie in ein Seebad abgeschoben.

„Wer die­ses Meisterwerk der Filmkunst, oder Filme von Yazujiro OZU über­haupt noch nicht kennt, darf sich die Gelegenheit, den Film auf der Leinwand in der Originalfassung mit dt. Untertiteln zu sehen, nicht ent­ge­hen las­sen. Alle ande­ren kön­nen sich ihn zum zwei­ten oder drit­ten Mal anschau­en, ist er doch stil­prä­gend für vie­le ernst­zu­neh­men­de Filmemacher und ganz all­ge­mein weg­wei­send für vie­le Kinosozialisationen.”

Japan 1953, 136 Min.,
jap. OmU

R.: Yasujiro Ozu
B. : Y. Ozu, Kogo Noda

D.: Chishu Ryu,
Chieko Higashiyama, Setsuko Hara

schwei­zer Webseite

A film by  Damien Manivel. In French with German subtitles.

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„Manivel hadn’t made a film spe­ci­fi­cal­ly about dance befo­re, though this art he long prac­ti­ced lent all his pre­vious films their pre­cis­i­on and rigor. Isadora’s Children should the­r­e­fo­re be seen as the sum­ma­ti­on of a visi­on, that of a cine­ma that devo­tes infi­ni­te atten­ti­on to the tenuous folds of emo­ti­on and beau­ty.” Antoine Thirion

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Credits:

LES ENFANTS D’ISADORA
Frankreich, Korea 2019,  84 Min., frz.OmU
Regie: Damien Manivel
Kamera:  Noé Bach
Schnitt: Dounia Sichov
mit:Agathe Bonitzer, Manon Carpentier, Marika Rizzi, Elsa Wolliaston

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Trailer:

ISADORAS KINDER, offi­zi­el­ler Trailer from eksys­tent dis­tri­bu­ti­on on Vimeo.

nach oben

A film by Andreas Hoessli. Postponed.

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1979, Revolution in Iran. 1980, Revolution in Poland. The fall of the Shah, the „King of Kings” in Iran, mass strikes and the „Solidarnosc” move­ment in Poland. What hap­pen­ed in the minds of the young women and men who were invol­ved in the revo­lu­ti­ons at the time? What hap­pen­ed to them when the revo­lu­ti­on was sup­pres­sed or – as in Iran – when a reli­gious-aut­ho­ri­ta­ri­an eli­te took power?

„Der nack­te König – 18 Fragmente über Revoution” wur­de am Dokumentarfilmfestival München 2019 mit dem Hauptpreis im inter­na­tio­na­len Wettbewerb aus­ge­zeich­net. Begründung der Jury: „We reco­gni­ze a pre­cise psy­cho­lo­gi­cal por­trait of a per­pe­tual­ly shat­te­ring world. As this essay moves across time, it tran­s­cends the power of record and docu­men­ta­ti­on alo­ne, to sur­vey the remains of revo­lu­ti­on, in con­ver­sa­ti­on with roman­ti­cism and limitation.”

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Credits:

CH/DE/PO 2019., 108 Min., Polnisch, Farsi, Englisch, Deutsch OmU, 
Buch und Regie: Andreas Hoessli
Schnitt: Lena Rem
Kamera: PeterZwierko

Termine:

• noch kei­ne oder kei­ne mehr 

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Trailer:

DnK – Der Nackte König_Trailer-DE from Mira Film on Vimeo.

A film by Anna Sofie Hartmann.  In German, Danish, English & Polish with German subtitles.

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Found in a flee­ting detail, the expl­ana­ti­on for the film’s title could go unno­ti­ced. What is obvious, howe­ver, is the graceful look and ele­va­ted per­spec­ti­ve of a fic­tion­al sto­ry roo­ted in his­to­ri­cal mate­ria­lism, taking advan­ta­ge of a European con­s­truc­tion site for a tun­nel con­nec­ting Denmark and Germany to pre­ser­ve the memo­ry of a ter­ri­to­ry fated to dis­ap­pear, while exami­ning social rela­ti­onships that have been shat­te­red by the ideo­lo­gy of progress.

Antoine Thirion

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Credits:

DK/DE 2019, 87 Min.,  deutsch/englisch/dänisch/polnische OmU
Buch & Regie: Anna Sofie Hartmann 
Kamera: Jenny Lou Ziegel 
Schnitt: Sofie Steenberger
mit Lisa Loven Kongsli, Maren Eggert, Jakub Gierszał, Mariusz Feldman,

Termine:

• noch kei­ne oder kei­ne mehr 

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Trailer: (vor­läu­fig)

Im Kino mit deut­schen Untertiteln.

A film by Justine Triet. In French with German subtitles

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Sibyl, a jaded psy­cho­the­ra­pist, returns to her first pas­si­on: wri­ting. But her newest pati­ent Margot, a trou­bled up-and-coming actress, pro­ves to be a source of inspi­ra­ti­on that is far too temp­ting. Fascinated almost to the point of obses­si­on, Sibyl beco­mes more and more invol­ved in Margot’s tumul­tuous life, revi­ving vola­ti­le memo­ries that bring her face to face with her past.

Justine Triet (In Bed with Victoria, Cannes 2016 – Critics’ Week Opening Film) con­ti­nues her unre­ser­ved explo­ra­ti­on of the modern woman’s psy­che with this inten­se and laye­red story.

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Credits:

FR 2019, 100 Min., frz. OmU
Regie : Justine Triet
Kamera: Simon Beaufils
Schnitt: Laurent Sénéchal
mit: Virginie Efira, Adèle Exarchopoulos, Gaspard Ulliel, Sandra Hüller

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A film by Bettina Böhler. In German with English subtitles.

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What a joy it is to lis­ten to and watch Christoph Schlingensief once more! His razor-sharp mind, mischie­vous iro­ny and the poli­ti­cal cla­ri­ty with which he talks about hims­elf, his art and his films in Bettina Böhler’s docu­men­ta­ry make us keen­ly feel the loss of this excep­tio­nal artist. But at the same time, here he is, brought back to life on the big screen. In 2020, Christoph Schlingensief would have tur­ned 60. Bettina Böhler’s bril­li­ant­ly edi­ted work pulls off the con­sidera­ble feat of retel­ling his life and oeu­vre exclu­si­ve­ly from archi­ve foo­ta­ge in just two hours. From Schlingensief’s first Super 8mm films to his Fluxus Oratorio “A Church of Fear vs. The Alien Within”, her film spans for­ty years of crea­ti­vi­ty that also reflects for­ty years of (German-)German histo­ry, with which Schlingensief radi­cal­ly enga­ged throug­hout his life. Böhler mas­terful­ly assem­bles film clips and pri­va­te vide­os, recor­dings of theat­re per­for­man­ces and copious hither­to unpu­blished and new­ly digi­ta­li­sed mate­ri­al. At the end of this tour de force we are left with the ques­ti­on: Would Schlingensief’s art be con­ceiva­ble in this form today?

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Credits:

DE 2020, 124 Min., 
Regie, Buch, Schnitt: Bettina Böhler
mit Christoph Schlingensief, Margit Carstensen, Irm Hermann, Alfred Edel, Udo Kier

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