A Film by  Bernhard Sallman.  On March 31st. In German.

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The rivers used to run the way they run today. Sure, they car­ri­ed other water. But isn’t water always water? We see water in almost every take of this cine­ma­tic ram­ble through Brandenburg’s Spree are­as – moving, sta­g­nant, clear, mur­ky, over­flowing, dam­med up, liquid, fro­zen – in sta­tic takes, audio­vi­su­al crystal­liza­ti­ons of the onto­lo­gi­cal modes of water, always both his­to­ric tableau and view of the pre­sent day: the rivers that flow or stand still the way they always used to flow or stand still and the high­ways bey­ond their banks, the smo­king chim­neys of power plants in the back­ground, the motor boats, the jet­ties, the bridges, the ship­ping facilities.

After “Oderland. Fontane” and “Rhinland. Fontane”, Bernhard Sallmann is now pre­sen­ting “Spreeland Fontane”, his third film essay adapt­a­ti­on of the five-volu­me tra­ve­lo­gue “Ramblings through Brandenburg”. Offscreen, Judica Albrecht’s crys­tal clear, almost black and white voice reci­tes pas­sa­ges from the impres­si­ons the famous German wri­ter Theodor Fontane tur­ned into pro­se, while onscreen the places of influx whe­re histo­ry and the pre­sent age flow tog­e­ther are revealed.

Lukas Stern

Credits:

DE 2018, 79 Min., Regie, Kamera, Schnitt: Bernhard Sallmann

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A film by Robert Guédiguian. In French with German subtitles.

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Three grown child­ren gathe­red at the pic­tures­que vil­la of their dying father reflect on whe­re they are, who they have beco­me, and what they have inherited.

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FR 2017, 107 Min., frz. OmU, Regie: Robert Guédiguian, mit: Ariane Ascaride, Jean-Pierre Darroussin, Gérard Meylan, Jacques Boudet

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Das Haus am Meer – Trailer from Jürgen Lütz on Vimeo.

A film by Sebastian Winkels. Starts March 28th at the fsk. In German.

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Talking Money is an obser­va­tio­nal docu­men­ta­ry shot at bank con­sul­ta­ti­on tables all over the world. Weaving sto­ries from eight count­ries into one glo­bal money con­ver­sa­ti­on, it vir­tual­ly trans­forms the cine­ma into a bank. Purely experiential!

Who are we when we talk about money?

Intimate con­ver­sa­ti­ons in an imper­so­nal place: from Bolivia to Pakistan, Benin to Switzerland, men and women sit down across from their neigh­bor­hood ban­kers to dis­cuss the inti­maci­es of their finan­cial lives. Far from the gla­mour of distant Wall Street, this is the rea­li­ty of per­so­nal ban­king, whe­re one’s life pro­blems are a mat­ter of business.

In fif­teen spon­ta­neous­ly recor­ded encoun­ters, the bank table turns into a stage for con­fes­si­ons and mas­quer­ades, whe­re con­sul­tants and cli­ents try their best to look solid and trust­wor­t­hy. Filming enti­re­ly from the bank’s side of the table, Sebastian Winkels offers the audi­ence a place in a bizar­re power play, explo­ring a com­pli­ca­ted rela­ti­on cal­led ’money’.

A mul­ti-voi­ced com­ment on capi­ta­lism that reve­als how the invi­si­ble power of money works on all of us, no mat­ter who and whe­re we are.

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Credits:

CH/DE 2017, 83 Min.,
Buch/Regie/Kamera: Sebastian Winkels
Schnitt: Frederik Bösing

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A film by Jonah Hill.  In English with German subtitles.

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Stevie is 13, but looks a lot youn­ger. As always, it is sum­mer­ti­me in L.A. and Stevie is despe­ra­te to hang out with the big boys. At home his older brot­her tyran­ni­s­es him; his sin­gle mother is rare­ly the­re. When Stevie meets a group of cool dudes at the local skate­board shop, ever­y­thing chan­ges: the Ninja Turtles pos­ter is repla­ced by a pin-up girl, he beg­ins prac­ti­cing skate­boar­ding at night in front of the house and it is not long befo­re Stevie smo­kes his first cigarette.
Actor Jonah Hill (The Wolf of Wall Street) has paid gre­at atten­ti­on to detail in order to resur­rect the 1990s for his direc­to­ri­al debut. His sto­ry of a teenager’s dif­fi­cult search for reco­gni­ti­on and the right fri­ends unfolds with gre­at ease and ple­nty of music. Replete with mix­tapes, VHS cam­cor­ders, Nintendo PlayStations and a good dose of nost­al­gia, Hill’s 16mm film takes us into the world of a boy who is test­ing his limits and is in dan­ger of gro­wing up too quick­ly. And on the sound­track, in addi­ti­on to film music sup­pli­ed by Trent Reznor (Nine Inch Nails) and Atticus Ross, we are trea­ted to the songs of Nirvana, The Mamas & the Papas, Cypress Hill, Souls of Mischief and Seal.

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Credits:

US 2018, 85 Min., engl. OmU
Regie, Buch: Jonah Hill
Kamera: Christopher Blauvelt
Montage: Nick Houy
mit: Sunny Suljic, Katherine Waterston, Lucas Hedges, Na-Kel Smith, Olan Prenatt 

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A film by Muayad Alayan.  In Arabic, Hebrew and English with German subtitles.

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An affair of the heart beco­mes an affair of sta­te: a Palestinian dra­ma that takes the uphe­avals bet­ween Arabs and Jews to ano­ther, unu­su­al level. Sex in the back of a truck – that just about sums up the affair bet­ween Sarah and Saleem. They meet seve­ral times a week, as soon as he’s finis­hed deli­ve­ring his pastries and she’s shut her café. Their affair is given added piquan­cy not just by the fact that they’­re both mar­ried, but becau­se Sarah is Israeli and Saleem Palestinian. When the pair are spot­ted tog­e­ther, the intel­li­gence ser­vices on both sides take an inte­rest in Saleem, becau­se Sarah’s hus­band is no ordi­na­ry Israeli, but a high-ran­king officer.

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PS/NL/DE/MX 2018, 127 min., Farbe, Arab./Hebr./Engl. OmU
Regie: Muayad Alayan
Kamera: Sebastian Bock
Schnitt: Sameer Qumsiyeh
mit: Maisa Abd Elhadi, Adeeb Safadi, Sivane Kretchner, Ishai Golan

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A film by Christine Repond. In German.

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Amidst the pre­pa­ra­ti­ons for her 35th wed­ding anni­ver­sa­ry, Meredith is sur­pri­sed by the dis­co­very that she is HIV-posi­ti­ve. Only her hus­band André comes into ques­ti­on as the carrier.
Shaken, Meredith finds out that he has been unfaithful to her with pro­sti­tu­tes. She con­fronts André with the dia­gno­sis and throws him out of the house. Meredith, howe­ver, who has always built her life enti­re­ly around caring for her fami­ly, can hard­ly bear being alo­ne. Following an inten­se fight, she final­ly cons­ents to André’s return. He in the mean­ti­me knows that he is also HIV-posi­ti­ve. They deci­de to deal with the con­dem­na­ti­ons and the ill­ness together.
The clo­ser the anni­ver­sa­ry cele­bra­ti­on looms, the more fra­gi­le this mar­ria­ge to be cele­bra­ted appears to be. The deep con­nec­tion they once had with one ano­ther only flas­hes through in rare moments. Brave, enra­ged and hop­eful, Meredith sen­ses that the­re can only be a future tog­e­ther when she can for­gi­ve André uncon­di­tio­nal­ly. But how much inju­ry can love withstand?

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Deutschland 2018, 80 Min.
Regie & Drehbuch: Christine Repond
Kamera: Aline László
Schnitt: Ulrike Tortora
mit: Barbara Auer, Robert Hunger-Bühler

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A film by Frauke Lodders.

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How does living with a serious­ly sick or dis­ab­led child influence the fami­ly struc­tu­re? What spe­ci­fic role do the healt­hy siblings have? The docu­men­ta­ry UNZERTRENNLICH accom­pa­nies child­ren and young adults from five com­ple­te­ly dif­fe­rent fami­lies and seeks to find ans­wers to the­se ques­ti­ons in their ever­y­day lives.
Over three quar­ters of the popu­la­ti­on in Germany have at least one brot­her or sis­ter. These siblings are play­mates, con­fidan­tes and often best fri­ends for life. But with a sibling the­re also emer­ges rival­ry in the com­pe­ti­ti­on for affec­tion, atten­ti­on, free­dom and respect. Conflicts are part of every healt­hy rela­ti­onship bet­ween siblings. They are important to estab­lish a las­ting balan­ce and to sup­port the healt­hy deve­lo­p­ment of a child. But what hap­pens, if that is not pos­si­ble becau­se one child has a spe­cial, shiel­ded sta­tus in the fami­ly, due to a sick­ness or disa­bi­li­ty and is in need of con­stant care?

Webseite: mindjazz-pictures.de

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Credits:

DE 2018 91 Min.
Regie: Frauke Lodders
Kamera: Timo Schwarz, Fabian Schmalenbach
Schnitt: Kirsten Ottersdorf 

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A film by Darío Aguirre.
In German and Spanish with Spanish and German subtitles.

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Unexpectedly, the German aut­ho­ri­ties offer the Ecuadorian direc­tor Dario Aguirre German citi­zen­ship. In this ten­der­ly iro­nic road movie, he por­trays the com­pli­ca­ted path he took from the coun­try of his foref­a­thers to that of his children.
Aguirre actual­ly came to Germany becau­se of Stephanie from Ecuador, but the aut­ho­ri­ties have always been a part of their rela­ti­onship. In the ensuing 15 years, they issued a total of 10 visas. This long trail of docu­ments, stamps, per­mits and rest­ric­tions pro­vi­ded Aguirre with a con­nec­tion to Germany, while at the same time kee­ping him at arm’s length. And now this: the mayor of Hamburg invi­tes Dario to beco­me a German. The offer rai­ses many ques­ti­ons. Is this a decla­ra­ti­on of love for his adopted home? And: does he feel in a posi­ti­on to beco­me a German yet?

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Credits

Deutschland, Schweiz 2018,  88 Min. 
Regie: Darío Aguirre
Drehbuch: Darío Aguirre
Protagonisten: César Aguirre, Mariuxi Guevara, Christa und Andreas Tonn, Stephanie Tonn
Produzent: Tobias Büchner, Franziska Reck
Kamera: Helena Wittmann, Darío Aguirre
Schnitt: Ulrike Tortora, Darío Aguirre

frei­ge­ge­ben ab 0 Jahren (FSK Prüfkarte pdf)

Gefördert von der Filmförderung Hamburg Schleswig Holstein GmbH

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A Film by Małgorzata Szumowska. In Polish with German subtitles.

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Jacek loves hea­vy metal and his dog. He con­verts the coun­try lanes out­side his door into a racing track and bombs down them in his litt­le car. When he and his girl­fri­end Dagmara take to the dance­f­lo­or, ever­yo­ne runs for cover. He enjoys his exis­tance as a cool mis­fit in an other­wi­se stuffy envi­ron­ment, and keeps his mus­cles toned working on a buil­ding site clo­se to the Polish-German bor­der whe­re the world’s lar­gest sta­tue of Jesus is being con­s­truc­ted. But then his life is thrown bad­ly off cour­se by a ter­ri­ble acci­dent at work that com­ple­te­ly dis­fi­gu­res him. Eagerly fol­lo­wed by the Polish media, Jacek beco­mes the first per­son in the coun­try to recei­ve a face trans­plant. He may be cele­bra­ted as a natio­nal hero and mar­tyr, but he no lon­ger reco­g­ni­s­es hims­elf in the mir­ror. Meanwhile, the sta­tue of Jesus grows tal­ler and tal­ler. Whilst events around Jacek come thick and fast, the film never loses sight of the big­ger pic­tu­re and ins­tead brings things even more into focus. Twarz uses the for­mat of an acer­bic far­ce to con­sider con­di­ti­ons in modern-day Poland and explo­re life in the pro­vin­ces, reve­al­ing a coun­try that is busy set­ting its faith in stone.
(Berlinale)

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Twarz
Polen 2018, 91 Min., poln. OmU
Regie:Małgorzata Szumowska
Buch: Małgorzata Szumowska, Michał Englert
Kamera: Michał Englert
Montage: Jacek Drosio
mit: Mateusz Kościukiewicz
Agnieszka Podsiadlik
Małgorzata Gorol
Roman Gancarczyk
Dariusz Chojnacki
Robert Talarczyk
Anna Tomaszewska
Martyna Krzysztofik 

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A film by Talal Derki. In Arabic with German subtitles.

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Talal Derki, a Syrian direc­tor, returns to his home­land loo­king for ans­wers; he wants to under­stand what makes peo­p­le radi­cal­i­ze, dri­ving them into the hands of the so-cal­led “Islamic State”. Talal gains the trust of a radi­cal Islamist fami­ly and obser­ves the dai­ly life of its mem­bers for more than two years. His came­ra main­ly focu­ses on the child­ren, pro­vi­ding an extre­me­ly rare insight into what it means to grow up with a father who is a mem­ber of a jiha­dist orga­ni­sa­ti­on. Osama and his brot­her Ayman both love and admi­re their father and obey his orders. However, while Osama plans to fol­low the path of radi­cal­i­sa­ti­on, Ayman pre­fers to go back to school.

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Deutschland 2018, 98 Min., arab. OmU
Regie: Talal Derki
Kamera: Kahtan Hassoun
Schnitt: Anne Fabini

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