Author: fsk

A film by Mohammad Rasoulof. In Farsi with German subtitles.

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Heshmat, an exem­pla­ry hus­band and father, gets up very ear­ly every day. Where does he go? Pouya can­not ima­gi­ne kil­ling ano­ther man, yet he is told he must do so. Javad doesn’t know that pro­po­sing to his bel­oved won’t be the only sur­pri­se on her bir­th­day. Bahram is a phy­si­ci­an but is unable to prac­ti­ce medi­ci­ne. He has deci­ded to explain to his visi­ting nie­ce the reason for his life as an out­cast. The four sto­ries that com­pri­se Sheytan vojud nadarad (There Is No Evil) offer varia­ti­ons on the cru­cial the­mes of moral strength and the death penal­ty, asking to what ext­ent indi­vi­du­al free­dom can be expres­sed under a des­po­tic regime and its see­mingly ine­s­ca­pa­ble thre­ats. Mohammad Rasoulof only crea­tes a loo­se nar­ra­ti­ve link bet­ween the­se sto­ries, and yet they are all tra­gi­cal­ly and inex­orab­ly con­nec­ted. In the con­text of struc­tu­ral oppres­si­on, choice seems to be limi­t­ed to eit­her resis­ting or sur­vi­ving. But with each abrupt­ly inter­rupt­ed sto­ry, we are urged to con­sider how men and women can assert their free­dom even in such situations.

Golden Baer – Berlinale 2020

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Credits:

OT: Sheytan vojud nadarad, IR/DE/SZ 2020,
139 Min., far­si OmU,
Regie & Buch: Mohammad Rasoulof
Kamera: Ashkan Ashkani
Schnitt: Mohammadreza Muini, Meysam Muini
mit: Ehsan Mirhosseini, Shaghayegh, Kaveh Ahangar, Alirezy Zareparast, Salar Khamseh

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A film by Stéphanie Chuat & Véronique Reymond. In German, French and English with German subtitles.

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Lisa has given up her ambi­ti­ons as a play­w­right in Berlin and moved to Switzerland with her child­ren and hus­band, who runs an inter­na­tio­nal school the­re. When her twin brot­her Sven, a star actor at Berlin’s Schaubühne theat­re, falls ill with leuk­aemia, Lisa returns to the German capi­tal. His hopes of get­ting back on the stage give Sven the strength he needs to fight the dise­a­se. But when his con­di­ti­on dete­rio­ra­tes and his mother, also an actor, pro­ves unre­lia­ble, Lisa takes the reins and whisks her brot­her back to Switzerland. She hopes that new tre­at­ments, fami­ly life and moun­tain air will work a mira­cle. Brother and sis­ter, Berlin and Switzerland, life and theat­re, sick­ness and health. With its out­stan­ding lea­ding cast, Schwesterlein inter­wea­ves the­se com­ple­men­ta­ry bina­ries into a matu­re, moving and com­plex dra­ma. This film explo­res the mea­ning of heal­ing and sacri­fice, the inte­gri­ty of an adult sibling rela­ti­onship – a topic that has rare­ly been addres­sed as it is here – and artis­tic work as a core aspi­ra­ti­on in life. A fairy tale, with two adults as Hansel and Gretel, the theat­re as the gin­ger­b­read house and the ill­ness as the evil witch.

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CH 2020, 99 Min., dt.,frz,engl. OmU
Regie, Buch: Stéphanie Chuat, Véronique Reymond
Kamera: Filip Zumbrunn
Schnitt: Myriam Rachmuth
mit: Nina Hoss, Lars Eidinger, Marthe Keller, Jens Albinus, Thomas Ostermeier, Linne-Lu Lungershausen, Noah Tscharland, Isabelle Caillat, Moritz Gottwald, Urs Jucker

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A film by Yulia Lokshina. In German, Polish, Russian and Romanian with German subtitles.

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In the meat fac­to­ry a worker dies. School child­ren rehe­ar­se Brecht. Two sto­ries from the land of poets, phi­lo­so­phers and pri­ce-cut­ters. Gently and pre­cis­e­ly and with cine­ma­tic fines­se Yulia Lokshina picks at the wound in our system.

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DE 2020, 92 Min., 
Buch & Regie: Yulia Lokshina 
Kamera: Zeno Legner, Lilli Pongratz
Schnitt: Urte Alfs, Yulia Lokshina

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A film by Kantemir Balagov. In Russian with German subtitles.

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1945, Leningrad. World War II has devas­ta­ted the city, demo­li­shing its buil­dings and lea­ving its citi­zens in tat­ters, phy­si­cal­ly and men­tal­ly. Although the sie­ge – one of the worst in histo­ry – is final­ly over, life and death con­ti­nue their batt­le in the wrecka­ge that remains. Two young women, Iya and Masha, search for mea­ning and hope in the strugg­le to rebuild their lives among­st the ruins. Jessica Kiang, Variety, calls it a “slow, fero­cious, and extra­or­di­na­ry second film from bla­zing 27-year-old Russian talent Kantemir Balagov.”

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Дылда  Dylda
RU 2019, 139 Min., russ. OmU
Regie: Kantemir Balagov
Kamera: Ksenia Sereda
Schnitt: Igor Litoninskiy
mit: Viktoria Miroshnichenko, Vasilisa Perelygina, Andrey Bykov, Igor Shirokov

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• noch keine 

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A film by Therese Koppe.

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Erika and Tine are 81 and have been a cou­ple for 40 years. The two women live on a farm in Brandenburg they res­to­red them­sel­ves and look back on eventful lives. In the GDR they both had to fight for per­so­nal and artis­tic free­dom and strug­g­led dai­ly with socia­lism, not to men­ti­on its actual­ly exis­ting con­tra­dic­tions. Unlike other GDR crea­ti­ve artists who cra­cked under the rejec­tion of their art and ide­as, they both take a humo­rous look back today at the mani­fold docu­ments of their lives, con­tex­tua­li­sing and con­tra­dic­ting the num­e­rous Stasi files with their own memo­ries, pho­tos, pain­tings, sculp­tures and texts. They use the con­ver­sa­ti­ons with the young direc­tor to take a clo­se look at their own (GDR) past, but also the post-reuni­fi­ca­ti­on peri­od, the pre­sent and future.

What can art do in times of social poli­ti­cal chall­enge? How can one stay true to ones­elf, art and one’s ide­als? Where are women still con­fron­ted by struc­tu­ral dis­cri­mi­na­ti­on today? How can social grie­van­ces be resol­ved tog­e­ther? By stay­ing natu­ral­ly clo­se to its prot­ago­nists, the film mana­ges to achie­ve an enchan­tingly lucid nar­ra­ti­ve about free­dom, auto­no­my, crea­ti­vi­ty and socia­li­ty – and, last but not least, a mar­vell­ous ode to love.

Luc-Carolin Ziemann

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DE 2019, 74 Min., 
Buch & Regie: Therese Koppe
Kamera: Annegret Sachse
Schnitt: Evelyn Rack

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A film by Ines Johnson-Spain.

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»In a coun­try whe­re any devia­ti­on from its norm was con­side­red an exis­ten­ti­al thre­at, the birth of a black child must have been a poli­ti­cal issue.«Ines Johnson-Spain

It’s the start of the 1960s in the GDR: Sigrid, from Leipzig, falls in love with Lucien, a stu­dent from Togo, and gets pregnant. But she’s mar­ried to Armin, and they alre­a­dy have a son tog­e­ther. The cou­ple let their dark-skin­ned daugh­ter belie­ve that her skin colour is a coin­ci­dence and not signi­fi­cant, until she dis­co­vers the truth by chan­ce as a teen­ager. Decades later, long after she has met her bio­lo­gi­cal father’s fami­ly in Togo, she recon­s­tructs her fami­ly histo­ry in a film as both prot­ago­nist and aut­hor. In emo­tio­nal and open con­ver­sa­ti­ons with her ste­pf­a­ther Armin, the atmo­sphe­re of silence and sup­pres­si­on is very much in evi­dence. It slow­ly beco­mes clear how the social milieu has to be struc­tu­red in order to make such a major deni­al of facts possible.Here too, pri­va­te mat­ters are poli­ti­cal. In an inti­ma­te explo­ra­ti­on of her own iden­ti­ty, Ines Johnson-Spain traces the taboo topic overs­ha­dowing her child­hood and in doing so also expo­ses an under­ly­ing racism resi­ding in the GDR. In the con­text of the tou­ch­ing encoun­ter with her Togolese fami­ly whom she dis­co­ver­ed so late in her life, the film beco­mes a reflec­tion on iden­ti­ty, fami­ly con­cepts and social norms. From the 1960s in East Berlin to the pre­sent day, this inti­ma­te, moving self-por­trait reve­als a wise and hither­to unwrit­ten German story.

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DE 2019, 91 Min.,
Buch & Regie: Ines Johnson-Spain
Kamera: Sebastian Winkels, Anne Misselwitz
Schnitt: Yana Höhnerbach

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• noch keine 

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A film by Joanna Hogg. In English with German subtitles.

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England; the ear­ly 1980s. Young film stu­dent Julie wants to use her came­ra to bet­ter under­stand the world. This shy woman is well awa­re of her pri­vi­le­ged social posi­ti­on and, as she explains, sees her Super 8 came­ra as a way to break out of her own litt­le bubble. She thinks she is medio­cre, but the pho­tos and moving images that flow into the film bear wit­ness to her spe­cial gaze. In an unas­sum­ing, almost docu­men­ta­ry approach, we are intro­du­ced to Julie’s stu­dent milieu, into which Anthony unex­pec­ted­ly enters. He is older and more distin­gu­is­hed. He har­bours a secret that Julie only unco­vers later, but that then dra­ma­ti­cal­ly chan­ges everything.
Joanna Hogg’s semi-auto­bio­gra­phi­cal film is both a per­so­nal take on the crea­ti­ve out­put of upper-midd­le-class Britain and an incisi­ve explo­ra­ti­on of spaces, land­scapes, depen­dent rela­ti­onships and, not least, the medi­um of film. Hogg’s con­tem­po­ra­ry, Tilda Swinton, plays Julie’s gene­rous mother; her daugh­ter, Honor Swinton Byrne, embo­dies the role of the prot­ago­nist, who seems to be losing her grip on life. Until, that is, film comes to the res­cue, as a means of expres­si­on, rea­li­ty, the­ra­py and a record of the times.

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GB 2019, 115 Min., engl. OmU
Regie, Buch: Joanna Hogg
Kamera: David Raedeker
Schnitt: Helle le Fevre
mit: Honor Swinton Byrne, Tom Burke, Tilda Swinton

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• noch keine 

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nach oben

A film by Jan Komasa. On September 12th & 13th at the fsk. In Polish with German subtitles.

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A young pet­ty cri­mi­nal gets a small com­mu­ni­ty back on track after pas­sing hims­elf off as a vicar. A Polish dra­ma based on real events. 20-year old Daniel has screwed up a lot in his young life. Then one day he has a spi­ri­tu­al epi­pha­ny in the young offen­ders‘ insti­tu­ti­on. From now on, he wants to fol­low the path of good­ness and beco­me a priest – an impos­si­ble dream, given his cri­mi­nal record. After his release, he is sent to a small town whe­re he has a chan­ce to earn an honest living. He takes the oppor­tu­ni­ty to dis­gu­i­se and pre­sent hims­elf as the new vicar. And, stran­ge­ly enough, after the arri­val of the cha­ris­ma­tic priest, things in the vil­la­ge begin to chan­ge for the positive.

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PL 2019, Regie: Jan Komasa, 115 min, OmU
Buh: Mateusz Pacewicz, Kamera: Piotr Sobociński jr., Schnitt: Przemysław Chruścielewski,
mit: Bartosz Bielenia, Aleksandra Konieczna, Eliza Rycembel, Tomasz Ziętek u.a.

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Sorry, this ent­ry is only available in Deutsch.

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Der jun­ge west­deut­sche Kameramann Kai von Westerman gerät mit­ten in die Ereignisse. 1989 arbei­te­te er für einen Korrespondenten des fran­zö­si­schen Fernsehens in der DDR. Als die Menschen auf die Straße gin­gen, bekam er den Auftrag, den Franzosen in knap­pen Beiträgen die Ereignisse zu erklä­ren. So doku­men­tier­ten bei­de die Kraft und Dramatik der Friedlichen Revolution, aber das meis­te Material wur­de nicht gesen­det. Erst jetzt, 20 Jahre nach der Wende, hat von Westerman dar­aus einen Film gemacht, der die Ereignisse des Herbstes 1989 beschreibt. Der Dokumentarfilm gibt in sub­ti­ler Weise ein­ma­li­ge Geschehnisse des Jahres 1989 wie­der. Er zeich­net das Lebensgefühl von DDR-Bürgern nach, die für Freiheit und Demokratie auf die Straße gin­gen, ohne zu wis­sen, wie es aus­ge­hen wür­de. Es ist ein Film, der zum Nachdenken anregt und durch die bestechen­de Sicht auf die Ereignisse des Herbstes ’89 ein wert­vol­les Zeitdokument darstellt.
Regie: Kai von Westerman, D ¹⁹⁸⁹⁄₁₉₉₉, 90 Min. Zu Gast: Kai von Westerman

Zusammen mit:
Z mojego okna (From My Window)
Regie: Józef Robakowski, Polen 2000, 20 Min.
Der pol­ni­sche Filmemacher und Videokünstler Józef Robakowski film­te über 22 Jahre den sich ver­än­dern­den Blick aus dem Fenster sei­ner Wohnung in einem sozia­lis­ti­schen Wohnblock in Łódź. Er beob­ach­tet den Übergang Polens vom Sozialismus der Nachkriegszeit in die Zeit der Solidarność in den spä­ten 1980er Jahren und des­sen Übergang in die Dritte Republik, den Einstieg Polens in die Marktwirtschaft.

Wie Erich sei­ne Arbeit ver­lor – Trailer from Westermans Filme on Vimeo.

A film by Michael Fetter Nathansky. In German with English subtitles.

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Director Michael Fetter Nathansky and actress Gisa Flake return to Braunschweig with their first fea­ture film. After 20 years Moni returns home to her sis­ter Silke who has been atta­cked by a stran­ger. Moni is wil­ling to do any­thing pos­si­ble to find the atta­cker and to pro­tect her sis­ter. But is that real­ly what Silke wants? And if so, who is actual­ly the one being pro­tec­ted? And abo­ve all, pro­tect from whom? And which role does the offen­der René play, who does­n’t even under­stand why he did it. Due to an unex­pli­ca­ble act the desti­nies of three peo­p­le col­lap­se and dis­sol­ve into a dra­ma­tur­gi­cal dance about vic­tims, offen­ders and the truth that lays bet­ween the lies.

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DE 2019, 104 Min., 
Regie & Buch: Michael Fetter Nathansky 
Kamera: Leander Ott 
Schnitt: Camila Mercadal
mit: Christina Große, Marc Ben Puch, Gisa Flake K Leander Ott

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