Author Archives: fsk

Kokon

A film by Leonie Krippendorff.  In German with English subtitles.

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“We’re like fish in a fish tank. We keep swim­ming round in cir­cles, from one end of Kotti to the other and back again, until we even­tual­ly mana­ge to jump out of the tank.”

Berlin-Kreuzberg is Nora’s micro­c­osm. Nora, the silent obser­ver, is always tag­ging along: At par­ties, at school, at the pool, on roof­tops and in apart­ments. Nora drifts around the mono­to­no­us housing blocks with her big sis­ter and her fri­ends, wit­nessing events that seem to cross-fade in the sum­mer light. Girls who want to be slim and pret­ty, boys who say dumb things to pro­vo­ke or becau­se they are in love. Ruthless smart­phone came­ras and fra­gi­le teen­agers. But Nora has her own way of loo­king at the world, and when she meets Romy, she rea­li­zes why. There is music in the air, Nora’s body is chan­ging, and cater­pil­lars are spin­ning their cocoons. Realistic and taking on the protagonist’s per­spec­ti­ve, this film cap­tures a sum­mer of change.

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Credits:

DE 2020, 95 Min., dt. OmeU
Regie & Buch: Leonie Krippendorff
Schnitt: Emma Alice Gräf
Kamera: Martin Neumeyer
mit: Lena Urzendowsky, Jella Haase, Lena Elenke, Elina Vildanova, Anja Schneider, Denise Ankel


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Trailer:

Kokon Trailer Deutsch | German [HD]

Undine

A film by Christian Petzold. In German with English subtitles.

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Undine works as a his­to­ri­an lec­tu­ring on Berlin’s urban deve­lo­p­ment. But when the man she loves lea­ves her, the anci­ent myth cat­ches up with her. Undine has to kill the man who betrays her and return to the water.

Berlinale 2020: International Competition

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Credits:

DE/FR 2019, 89 Min., dt. OmeU
Regie: Christian Petzold
Kamera: Hans Fromm
Schnitt: Bettina Böhler
mit Paula Beer, Franz Rogowski, Maryam Zaree

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Trailer:

UNDINE – der neue Film von Christian Petzold – offi­zi­el­ler Trailer

Paris Calligrammes

A film by Ulrike Ottinger. In German.

[Credits] [Trailer]

In a rich tor­rent of archi­val audio and visu­als, pai­red with extra­cts from her own art­works and films, Ottinger resur­rects the old Saint-Germain- des-Prés and Latin Quarter, with their lite­ra­ry cafés and jazz clubs, and revi­sits encoun­ters with Jewish exi­les, life with her artis­tic com­mu­ni­ty, the world­views of Parisian eth­no­lo­gists and phi­lo- sophers, the poli­ti­cal uphe­avals of the Algerian War and May 1968, and the lega­cy of the colo­ni­al era. “I fol­lo­wed the foot­s­teps of my hero­i­nes and heroes,” Ottinger nar­ra­tes. “Wherever I found them, they will appear in this film too.”

„In 1962, as a young artist, I came to live and work in Paris. That peri­od until 1969, when I left the city, was not only one of the most for­ma­ti­ve for me, it was also an era of intellec­tu­al, poli­ti­cal, and social uphe­aval in modern histo­ry. The film PARIS CALLIGRAMMES com­bi­nes my per­so­nal memo­ries of the 1960s with a por­trait of the city and a social car­to­gra­phy of the age. Like Guillaume Appolinaire’s poet­ry coll­ec­tion Calli- gram­mes: Poèmes de la paix et de la guer­re (Cal- ligrams: Poems of Peace and War), I have given it the form of a fil­mic “pic­tu­re-poem” (cal­li­gram) in which the words and images, com­ple­men­ted by lan­guage, sound, and music, form a mosaic that emer­ges from the viva­ci­ty of tho­se exci­ting years while spea­king to the fra­gi­li­ty of all cul­tu­ral and poli­ti­cal achie­ve­ments. The Ariadne thread through the film is a walk across Paris with many stops whe­re topics are rai­sed out of any chro­no­lo­gi­cal order. In the tra­di­ti­on of the flâ­neur, I visit focal points in the city that were meaningful to me per­so­nal­ly and to the sto­ry of the 1960s, sites whe­re signi­fi­cant poli­ti­cal events tran­spi­red, important cul­tu­ral and artis­tic encoun­ters occur­red, and new com­mu­nal ways of life evol­ved. Not only was Paris in that time a “mel­ting pot” of intellec­tu­als and artists from all over the world, it was also under­go­ing the dif­fi­cult poli­ti­cal era of deco­lo­niza­ti­on. The War in Algeria, and later the Vietnam War, over-shadowed the peri­od of rea­wa­ke­ning after the Second World War and brought peo­p­le from the colo­nies and poli­ti­cal con­flicts into the capi­tal. Thus my fri­end­ships that deve­lo­ped in tho­se years were so inter­na­tio- nal and colorful, so exci­ting and inten­se.” (Ulrike Ottinger)

 

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Credits:

DE/FR 2019, 129 Min.,  dt. VO (Sprecherin U. Ottinger), dt. Teil-UT sowie engl. Voll-UT
Buch, Regie & Kamera: Ulrike Ottinger
Schnitt: Anette Fleming

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Trailer:

PARIS CALLIGRAMMES – Offizieller Trailer

 

La Vérité

A film by Hirokazu Kore-eda. In French with German subtitles.

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Hirokazu Kore-eda ist hier­zu­lan­de vor allem durch sei­ne Filme „Nobody Knows“, „Like Father, Like Son“ und zuletzt „Shoplifters“ bekannt gewor­den (fsk Besucher erin­nern sich viel­leicht auch noch an „Maboroshi” und „After Life”). Jetzt hat er erst­mals im Ausland gedreht, in einer frem­den Sprache, näm­lich fran­zö­sisch, mit einer fran­zö­si­schen Crew. Man ahnt gleich, war­um: Mit Catherine Deneuve, Juliette Binoche und Ludivine Sagnier (in einer Nebenrolle) ver­sam­melt er gleich drei weib­li­che Filmstars aus drei Schauspielgenerationen. Da liegt es irgend­wie nahe, dass es im Folgenden auch um die Schauspielerei, um das Kino gehen wird.

Deneuve spielt einen fran­zö­si­schen Filmstar namens Fabienne Dangeville. Sie ist eine gla­mou­rö­se Diva, die grü­nen Tee trinkt, natür­lich nicht heiß genug, und fra­gen­de Journalisten am lan­gen Arm ver­sau­ern lässt. Außerhalb von Paris lebt sie in einem schö­nen Landhaus mit groß­zü­gi­gem Garten, durch den eine gro­ße Schildkröte wan­dert. Anlässlich der Veröffentlichung von Fabiennes Memoiren, kurz „La Verité“, also „Die Wahrheit“, genannt, kommt ihre Tochter Lumir (Juliette Binoche) extra aus New York ange­reist, im Schlepptau ihren ame­ri­ka­ni­schen Ehemann Hank (Ethan Hawke), einen Fernseh-Schauspieler, und die gemein­sa­me Tochter Charlotte (Clémentine Grenier). Die Begrüßung ist kühl, nie­man­dem ist nach Feiern zu Mute, zumal der Anlass – die Veröffentlichung eines Buches – eher gering ist. Lumir ahnt aller­dings, dass sie den Inhalt des Buches auf sei­ne Faktentreue hin genau über­prü­fen muss. Daran, dass ihre Mutter sie stets freu­dig in den Arm genom­men habe und Hand in Hand mit ihr durch den Garten spa­ziert sei, erin­nert sie sich jeden­falls nicht. Die nächs­ten Tage wer­den also unge­müt­lich, zumal Fabienne ihren Mund nicht hal­ten kann. Für ihren Schwiegersohn, die­sen zweit­klas­si­gen Serienstar, hat sie nur Verachtung übrig – zumal er kein Französisch spricht. Und so kommt es der klei­nen Charlotte zu, das Herz der alten Hexe zu erweichen.

Wenn ein fran­zö­si­scher Filmstar einen fran­zö­si­schen Filmstar spielt, ist hier eine klei­ne Gefahr ver­bor­gen. Geht es hier etwa um Catherine Deneuve? Oder führt die­se Idee auf die fasche Fährte? Natürlich ist die Deneuve eine Figur in einem Kore-eda-Film. Und doch spielt sie auch sou­ve­rän mit ihrer Leinwand-Persona als schwie­ri­ger, ver­letz­li­cher und unge­dul­di­ger Star. Die Souveränität, mit dem sie die­ses Image in den Film ein­flie­ßen lässt und so einen dop­pel­ten Boden in die Erzählung ein­zieht, ist jeden­falls bewun­derns­wert. Doch zu aller­erst ist dies ein Film von Hirokazu Kore-eda, mit den Themen, die ihn immer wie­der beschäf­ti­gen: Generationskonflikte, unvoll­stän­di­ge oder durch Traumata gefähr­de­te Familien, Zusammenleben, Älterwerden und Sterben. In „La Verité“ kommt noch die eige­ne Vergangenheit dazu und wie man auf sie zurück­blickt, es geht um Geheimnisse und Lügen. Ein Schatten in der Vergangenheit führt hier dazu, dass sich Mutter und Tochter mit­ein­an­der aus­ein­an­der­set­zen müs­sen. Dazu passt es natür­lich, dass Fabienne gera­de in einem Film mit­spielt, bei dem es auch um eine pro­ble­ma­ti­sche Mutter-Tochter-Beziehung geht. Mit erzäh­le­ri­scher Einfachheit und bewun­derns­wer­ter Lebensklugheit treibt der Regisseur sei­ne Erzählung eben­so unter­halt­sam wie komisch vor­an. Und Catherine Deneuve ist eine Wucht.

Michael Ranze | programmkino.de

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Credits:

FR/JP 2019, 106 Min., franz. OmU
Regie: Hirokazu Kore-eda
Kamera: Éric Gautier
Schnitt: Julien Lacheray
mit: Catherine Deneuve, Juliette Binoche, Ethan Hawke, Clémentine Grenier, Ludivine Sagnier

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Trailer:

La Vérité – Trailer OmU

Das letzte Geschenk

A film by Pablo Solarz.In Spanish with German subtitles.

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Memory is like a suit tha­t’s con­stant­ly being repai­red. Some threads may beco­me lost in the pro­cess, but Abraham, a grum­py, smart 88-year-old tail­or, still remem­bers some things, such as an old pro­mi­se. He sets off on an adven­tur­ous jour­ney from Buenos Aires to Poland, to take a suit to an old fri­end who, 70 years pri­or, had saved his life during the Holocaust. On pla­nes, trains, and in cars, Abraham meets peo­p­le who­se lives have been patched up. When he rea­ches Germany, a coun­try he never wan­ted to set foot in again, his jour­ney con­ti­nues into the past. This film, at times amusing, at times melan­cho­ly, is tail­or-made for its audience.

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Credits:

El últi­mo traje
AR/ES 2017, 93 Min., span. OmU
Regie und Buch: Pablo Solarz
Kamera: Juan Carlos Gómez
Schnitt: Antonio Frutos
mit: Miguel Ángel Solá, Ángela Molina, Julia Beerhold, Natalia Verbeke, Olga Boladz, Martín Piroyansky, Jan Mayzel

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Trailer:

Trailer „Das letz­te Geschenk”

 

 

Jenseits des Sichtbaren – Hilma af Klint

A film by Halina Dyrschka.  In Swedish, English and German with German subtitles.

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The art world made a sen­sa­tio­nal dis­co­very – unfort­u­na­te­ly a cen­tu­ry too late. In 1906, Swede Hilma af Klint pain­ted her first abs­tract work, long befo­re Kandinsky, Mondrian, or Malevich. She crea­ted more than 1,000 abs­tract pain­tings that remain­ed hid­den to posteri­ty until now. How can it be that a woman foun­ded abs­tract pain­ting at the begin­ning of the 20th cen­tu­ry and nobo­dy took noti­ce? This cine­ma­tic approach to this pio­neer, who­se sen­su­al oeu­vre is artis­ti­cal­ly fasci­na­ting, pres­ents her lifel­ong search for mea­ning, see­king under­stan­ding of life bey­ond what is visi­ble. Hilma af Klint’s extra­or­di­na­ry intellec­tu­al world ran the gamut from bio­lo­gy, astro­no­my, and theo­so­phy to the Theory of Relativity, ther­eby wea­ving a fasci­na­ting cos­mos of sen­sa­tio­nal pain­tings and notes. A stag­ge­ring body of work that neces­si­ta­tes the rewri­ting of art history.

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Credits:

DE 2019, 93 Min., schwe­disch, eng­lisch, deut­sche OmU
Regie: Halina Dyrschka
Kamera: Alicja Pahl, Luana Knipfer
Schnitt: Antje Lass, Mario Orias

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Trailer:

 

 

La Gomera

A film by Corneliu Porumboiu.  In Romanian, English and Spanish with German subtitles.

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Not ever­y­thing is as it seems for Cristi, a poli­ce inspec­tor in Bucharest who plays both sides of the law. Embarked by the beau­tiful Gilda on a high-sta­kes heist, both will have to navi­ga­te the twists and turns of tre­a­chery and decep­ti­on. A secret whist­ling lan­guage spo­ken on the Spanish island of La Gomera might just be what they need to pull it off.

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Credits:

RO, FR, DE, ES 2019, 97 Min., eng­lisch, rumä­nisch, spa­ni­sche OmU
Buch & Regie:  Corneliu Porumboiu
Kamera: Tudor Mircea
Schnitt Roxana Szel
mit: Vlad Ivanov, Catrinel Marlon, Rodica Lazar

Termine:

  • noch kei­ne oder kei­ne mehr 

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Trailer:

 

Tommaso und der Tanz der Geister

A film by Abel Ferrara.

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Their rela­ti­onship is in turm­oil and Tommaso must come to terms with his wife’s desi­re to chan­ge the rules of their mar­ria­ge. This chan­ge bet­ween Tommaso and his wife is set against his simp­le day to day life in Rome; as a stu­dent taking Italian clas­ses, as a tea­cher working with young acting stu­dents, his dealings with the local mar­kets and bars, and most important­ly his rela­ti­onship and the pure love he feels for his young daugh­ter and she for him.

His artis­tic tem­per howe­ver brings ano­ther dyna­mic to the lm. There is the world and the world that exists in Tomasso’s ima­gi­na­ti­on, which espe­ci­al­ly con­cerns and impacts Nikki and the other women in his sphe­re of in uence. He is a bud­dhist with acti­ve visi­ons of the pas­si­on of the Christ as well as an ex-addict and alco­ho­lic in acti­ve reco­very, all in a city he calls home but is still for­eign with the lan­guage and his abili­ty to com­mu­ni­ca­te a strugg­le. The dra­ma builds from this idea of rea­li­ty and ima­gi­na­ti­on, and resol­ves in the dis­co­very of what he and Nikki real­ly want, need from and are capa­ble of giving each other and their family.

 

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Credits:

US/IT/GB 2019, 119 Min., engl. OmU
Regie & Buch: Abel Ferrara
Kamera: Peter Zeitlinger
Schnitt: Fabio Nunziata 
mit: Willem Dafoe, Cristina Chiriac, Anna Ferrara, Kim Rossi Stewart

Termine:

  • noch kei­ne oder kei­ne mehr 

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Trailer:

 

 

Varda par Agnès

A film by Agnès Varda. In French with German subtitles.

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Agnès Varda takes a seat on a theat­re stage. This pro­fes­sio­nal pho­to­grapher, instal­la­ti­on artist and pio­neer of the Nouvelle Vague is an insti­tu­ti­on of French cine­ma but a fier­ce oppo­nent of any kind of insti­tu­tio­nal thin­king. In this film, she offers insights into her oeu­vre, using excerp­ts from her work to illus­tra­te – more asso­cia­tively than chro­no­lo­gi­cal­ly – her artis­tic visi­ons and ide­as. Her lively, anec­do­te-rich and cle­ver talk is divi­ded into two sec­tions. Firstly, she elu­ci­da­tes her ‘ana­lo­gue peri­od’ from 1954 to 2000, in which the direc­tor is in the fore­ground. This was the young woman who set out to reinvent cine­ma, someone who was always open to chan­ce and to moments of docu­men­ta­ry, even in fic­tion; who, with every new film, chan­ged her nar­ra­ti­ve style. In the second part, Agnès Varda focu­ses on the years from 2000 to 2018, and shows how she uses digi­tal tech­no­lo­gy to look at the world in her own, uni­que way.
Whether in front of the came­ra or behind it, Agnès Varda is a visu­al sto­rytel­ler who eschews con­ven­ti­on and pre­scri­bed approa­ches to dra­ma. Together with some of her fel­low tra­vel­lers, she takes the audi­ence on a jour­ney through her world of unor­tho­dox images.

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Credits:

FR 2018, 119 Min., frz. OmU
Regie : Agnès Varda
Kamera: François Décréau, Claire Duguet, Julia Fabry
Schnitt: Agnès Varda, Nicolas Longinotti
Darsteller : Agnès Varda, Sandrine Bonnaire, Nurith Aviv
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Termine:

  • noch kei­ne oder kei­ne mehr 

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Trailer:

 

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Spuren

A film by Aysun Bademsoy. In German and tur­ki­sh with German subtitles.

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“Between September 2000 and April 2007, nine immi­grant busi­ness­men and a German poli­ce­wo­man were mur­de­red. (…) I read the news about the mur­ders and thought: That could have been my father or my brot­her.” We’re tal­king about the mur­ders of the self-pro­clai­med National Socialist Underground (NSU) which came to light through the main per­pe­tra­tors’ sui­ci­de. After the end of the five-year NSU tri­al against their co-per­pe­tra­tors and sup­port­ers, film­ma­ker Aysun Bademsoy goes in search of the traces left by this crime series: in the vic­tims’ fami­lies and migrant com­mu­ni­ties, whe­re the inves­ti­ga­tors had first inves­ti­ga­ted exclu­si­ve­ly and sowed deep mis­trust with spe­cu­la­ti­ons of drug traf­fi­cking and the Mafia, not least with assi­gna­ti­ons like “Kebap Murders”. “The NSU mur­de­red my father. The inves­ti­ga­tors stained his honour. In doing so, they kil­led him a second time,” a sur­vi­ving daugh­ter says after the – to her dis­ap­poin­ting – jud­ge­ment was pro­no­un­ced. Confidence in the German sta­te was deep­ly shaken and the tri­al, a sobering expe­ri­ence for all fami­lies which left many things in the dark, des­troy­ed rather than res­to­red it. A film about sur­vi­ving – despi­te everything.

Frederik Lang

 

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Credits:

DE 2019, 81 Min., in deutsch und tür­kisch mit deut­schen und eng­li­schen Untertiteln 
Regie & Buch: Aysun Bademsoy
Kamera: Ute Freund, Isabelle Casez
Schnitt: Maja Tennstedt

Termine:

  • noch kei­ne oder kei­ne mehr 

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Trailer:

Spuren – Die Opfer des NSU Trailer Deutsch | German [HD]