A film by Jafar Panahi.

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Well-known actress Behnaz Jafari is dis­traught by a pro­vin­cial girl’s video plea for help – oppres­sed by her fami­ly to not pur­sue her stu­dies at the Tehran dra­ma con­ser­va­to­ry. Behnaz aban­dons her shoot and turns to film­ma­ker Jafar Panahi to help sol­ve the mys­tery of the young girl’s trou­bles. They tra­vel by car to the rural nor­thwest whe­re they have amusing encoun­ters with the char­ming folk of the girl’s moun­tain vil­la­ge. But the city visi­tors soon dis­co­ver that the pro­tec­tion of age-old tra­di­ti­ons is as gene­rous as local hospitality…

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Credits:

OT: Se rokh – سه رخ
Iran 2018, far­si OmU, 100 Min.,
Regie: Jafar Panahi
Buch: Jafar Panahi, Nader Saeivar
Kamera: Amin Jafari
Schnitt: Mastaneh Mohajer, Panah Panahi
Darsteller: Behnaz Jafari, Jafar Panahi, Marziyeh Rezaei, Maedeh Erteghaei, Narges Del Aram

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

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After one of their shop­lif­ting ses­si­ons, Osamu and his son come across a litt­le girl in the free­zing cold. At first reluc­tant to shel­ter the girl, Osamu’s wife agrees to take care of her after lear­ning of the hard­ships she faces. Although the fami­ly is poor, bare­ly making enough money to sur­vi­ve through pet­ty crime, they seem to live hap­pi­ly tog­e­ther until an unfo­re­seen inci­dent reve­als hid­den secrets, test­ing the bonds that unite them…

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Credits:
Manbiki kazo­ku
Japan 2018, 121 Min., jap. OmU
Regie & Schnitt: Hirokazu Kore-eda 
Kamera: Kondo Ryuto
mit: Lily Franky, Sakura Ando, Mayu Matsuoka, Kilin Kiki, Kairi Jyo
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• noch kei­ne oder kei­ne mehr 

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A film by Benedikt Erlingsson. In Islandic with German subtitles.

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Benedikt Erlingsson has set his poli­ti­cal­ly sharp-ton­gued come­dy against the breath-taking back­drop of the Icelandic landscape.
Halla is 50 and an inde­pen­dent woman. But the faca­de of her seda­te rou­ti­ne hides a second life as a pas­sio­na­te envi­ron­men­tal cam­pai­gner. Known as „The Woman of the Mountain”, she con­ducts a secret one-woman war against the local alu­mi­ni­um indus­try. With methods ran­ging from van­da­lism to indus­tri­al sabo­ta­ge, she mana­ges to stop nego­tia­ti­ons bet­ween the Icelandic govern­ment and an inter­na­tio­nal inves­tor. And, when her appli­ca­ti­on to adopt a child is final­ly accept­ed, she plans her last, most dar­ing operation.

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Credits:

Kona fer í stríð, FR/IS/UA 2018, 100 Min., isländ. OmU
Regie: Benedikt Erlingsson
Kamera: Bergsteinn Björgúlfsson
Schnitt: Davíð Alexsander Corno
mit: Halldóra Geirharðsdóttir, Jóhann Sigurðarson, Davíð Þór Jónsson

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A film by Steve McQueen. In English with German subtitles.

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Set in con­tem­po­ra­ry Chicago, amidst a time of turm­oil, four women with not­hing in com­mon except a debt left behind by their dead hus­bands‘ cri­mi­nal acti­vi­ties, take fate into their own hands, and con­spi­re to for­ge a future on their own terms.

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Credits:
GB/US 2018, 130 Min., engl. OmU
Regie: Steve McQueen
Kamera: Sean Bobbitt
Schnitt: Joe Walker
mit: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, , Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Carrie Coon, Robert Duvall, Liam Neeson

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A film by Hu Bo. In Mandarin with German subtitles.

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In the nor­t­hern Chinese city of Manzhouli, they say the­re is an ele­phant that sim­ply sits and igno­res the world. Manzhouli beco­mes an obses­si­on for the prot­ago­nists of this film, a lon­ged-for escape from the down­ward spi­ral in which they find them­sel­ves. Among them is school­boy Bu, on the run after pushing Shuai down the stairs, who was bul­ly­ing him pre­vious­ly. Bu’s class­ma­te Ling has run away from her mother and fal­len for the charms of her tea­cher. Shuai’s older brot­her Cheng feels respon­si­ble for the sui­ci­de of a fri­end. And final­ly, along with many other cha­rac­ters who­se fates are inex­tri­ca­bly bound tog­e­ther, there’s Mr. Wang, a spright­ly pen­sio­ner who­se son wants to off­load him onto a home. In vir­tuo­so visu­al com­po­si­ti­ons, the film tells the sto­ry of one sin­gle sus­pen­seful day from dawn to dusk, when the train to Manzhouli is set to depart.
This elec­tri­fy­ing direc­to­ri­al debut from Hu Bo, who­se novels alre­a­dy cau­sed a sen­sa­ti­on in China, is a four-hour por­trait of a socie­ty of ego­ists. Tragically, it will also be the final chap­ter in his lega­cy. On October 12, 2017, the artist took his own life at age 29.

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Credits:
Volksrepublik China 2018, Mandarin OmU, 230 Min.,
Regie, Buch: Hu Bo
Kamera: Fan Chao
Schnitt: Hu Bo
mit: Zhang Yu
Peng Yuchang
Wang Yuwen
Liu Congxi

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A film by Marcelo Martinessi. In Spanish with ger­man subtitles.

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Chela and Chiquita have been a cou­ple for a very long time. Over the years they have beco­me adapt­ed to a fixed allo­ca­ti­on of roles. Extroverted Chiquita is respon­si­ble for mana­ging their life tog­e­ther. Chela on the other hand is reluc­tant to lea­ve the house, pre­fer­ring to spend the day at her easel. Financial dif­fi­cul­ties force them to sell some of their inhe­ri­ted fur­ni­tu­re, each part of which is a bel­oved pie­ce of memo­ra­bi­lia. When Chiquita is sent to pri­son for debt, Chela is sud­den­ly left on her own. She uses her old Daimler to pro­vi­de a taxi ser­vice to wealt­hy older ladies in the neigh­bour­hood. In her new role as chauf­feur, she meets one of the­se ladies’ daugh­ters – the young and life-affir­ming Angy. The encoun­ter lures the rather pas­si­ve Chela out of her reser­ve and helps her redis­co­ver her own desires.
Exploring the out­side world as ten­ta­tively and careful­ly as its heroi­ne, the film incre­asing­ly trains its gaze on a social stra­ta that is stran­ge­ly cut-off from rea­li­ty and lives wit­hout a thought for tomor­row. However, when Chela visits her girl­fri­end in pri­son, a com­ple­te­ly dif­fe­rent pic­tu­re emer­ges of con­di­ti­ons in Paraguay.

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Credits:
Las here­de­ras
PY/UY/DE/BR/NO/FR 2018, 95 Min., span. OmU,
Regie: Marcelo Martinessi
Kamera: Luis Armando Arteaga
Schnitt: Fernando Epstein
mit: Ana Brun, Margarita Irún, Ana Ivanova

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A film by Irene Lusztig. In English with German subtitles:

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A petrol sta­ti­on at an Atlanta inter­sec­tion. A pri­va­te estate in Bowling Green, Kentucky, com­ple­te with a per­fect lawn. The front yard of a fami­ly home in Connecticut. At first glan­ce, the places Irene Lusztig cho­se to visit on her two-year jour­ney through the United States seem unre­mar­kab­le. At each stop, Lusztig had local women read out and com­ment on let­ters from the archi­ve of libe­ral femi­nist maga­zi­ne “Ms.”. These let­ters were ori­gi­nal­ly sent around 40 years ago in respon­se to artic­les in the maga­zi­ne, ser­ving also as out­lets for their wri­ters, main­ly women, to share their per­so­nal sto­ries – with inti­ma­cy and can­dour, at times full of reli­ef, at other rage. The let­ters recount expe­ri­en­ces of abor­ti­ons or les­bi­an affairs with mar­ried women and rail against the magazine’s igno­rance of what real life meant for black women.
Irene Lusztig’s docu­men­ta­ry set-up suc­ceeds in brin­ging a wealth of expe­ri­en­ces from an ear­lier gene­ra­ti­on of the femi­nist move­ment into a com­plex dia­lo­gue with the pre­sent. The writ­ten word only appears to be at the fore, bey­ond it, the­re lies a who­le uni­ver­se of femi­nism for the view­er to dis­co­ver, which Yours in Sisterhood makes acces­si­ble on many levels.

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Credits:
USA 2018, 101 Min., engl. OmU
Regie, Kamera, Schnitt: Irene Lusztig

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A film by  Lucia Chiarla.  In German with eng­lish subtitles.

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“Reise nach Jerusalem” is a game based on luck: You have to be in the right place at the right time – or the­re won’t be any chair left for you.
Alice has been unem­ploy­ed for too long and she doesn’t win this stu­pid game any­mo­re. Her fri­ends got mar­ried, some had child­ren and built a care­er while she’s wri­ting job appli­ca­ti­ons sit­ting on her shaky chair and with her bro­ken notebook.

The employ­ment office con­ti­nuous­ly invi­tes her to some job appli­ca­ti­on coa­ching, whe­re she is forced to take per­sis­tent advices. Since some time alre­a­dy Alice has the fee­ling, that this has just the pur­po­se of making the unem­ploy­ment sta­tis­tics look nicer.

Eventually, she has no pati­ence any­mo­re and ends up refu­sing the arran­ge­ments of the jobcenter.
In spi­te of ever­y­thing, she still sur­vi­ves with petrol vou­ch­ers she gets from jobs in mar­ket rese­arch insti­tu­tes – to exch­an­ge them for money, cau­se she has no car, of cour­se. Her life beco­mes an absurd world of bar­ter trade. Family and fri­ends have no idea of how deep in trou­ble Alice is. Her per­sis­tent search for social accep­tance can­not save her from the incre­asing isolation.

Time runs on her Japanese for­tu­ne cat watch next to her lap­top: The rent remains unpaid, the bank is always cal­ling becau­se her account has a nega­ti­ve balan­ce and she has no way to pay the pho­ne bills. Alice keeps on fight­ing dai­ly against elec­tro­nic sounds that obs­truct her way. And the petrol vou­ch­ers remain vou­ch­ers. Even Sex has its pri­ce, as she has to rea­li­ze one night, as she tri­es to get rid of her isolation.

Therefore, she final­ly went to her neigh­bour Luca, who works as a strip­per. A very inten­se encoun­ter that will pull her out of her des­pair, just befo­re facing a radi­cal decis­i­on: Should she keep play­ing the game along or just let go?

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Credits:
DE 2018, 118 Min., Deutsch.m.engl.UT
Regie: Lucia Chiarla
Bildgestaltung: Ralf Noack 
Schnitt: Aletta von Vietinghoff 
mit: Eva Löbau, Beniamino Brogi, Veronika Nowag-Jones, Axel Werner
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A film by Kat Rohrer & Gil Levanon.

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Credits:
AT, IL, DE, US 2017, 75 Min.,
OV (English/Hebrew) with German Subtitles (only German dia­lo­gue will have additional
eng­lish subtitles)
Regie: Kat Rohrer & Gil Levanon
Kamera: Thomas Marschall
Schnitt: Georg Eggenfellner

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Trailer:

Back To The Fatherland – Offical Trailer from Kat Rohrer on Vimeo.

A film by Ulrich Koehler. In German.

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ARMIN is get­ting too old for his night life habits and the woman he likes. He’s not real­ly hap­py, but can’t pic­tu­re living a dif­fe­rent life. One mor­ning he wakes up: the world looks the same as always, but man­kind has dis­ap­peared. – A film about the frigh­tening gift of maxi­mum freedom.

Now it’s dark and I’m alone
But I won’t be afraid
In my room
In my room
(Brian Wilson/Beach Boys)

Credits:

DE 2018, 120 Min., 
Buch & Regie: Ulrich Koehler
Kamera: K. Patrick Orth
Schnitt: Laura Lauzemis
mit: Hans Löw, Elena Radonicich, Michael Wittenborn, Ruth Bickelhaupt, Emma Bading, Katharina Linder

Termine:

• noch kei­ne oder kei­ne mehr 

Trailer: