Author: fsk

A film by Sally Potter. In English with German subtitles.

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Leo lies in bed. He is con­fu­sed and lost in his thoughts. People around him no lon­ger take him serious­ly. With the pro­ver­bi­al ten­der loving care, Molly, his daugh­ter, accom­pa­nies him through New York. Even though her job is on the line, she sticks with this men­tal­ly impai­red man who no lon­ger knows her name, but who­se head is fil­led with wan­de­rings into par­al­lel ver­si­ons of his life. The life of a man. Leo with Dolores in Mexico: sce­nes from their pas­sio­na­te mar­ria­ge; Leo as a lonely wri­ter on a Greek island. These encoun­ters steer him towards unp­lea­sant truths – and back to Molly. In spi­te of the radi­cal stance of her femi­nist films (The Gold Diggers, Orlando), Sally Potter has always been fasci­na­ted by the coexis­tence of women and men. She takes this to a new level in her latest work that explo­res the many lives a man car­ri­es insi­de him, even when rea­li­ty seems to be fading away. In the end, it is his daugh­ter’s uncon­di­tio­nal love that holds tog­e­ther the threads of Leo’s hal­lu­ci­n­a­to­ry trips.

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Credits:

US 2020, 85 Min., engl. OmU
Regie, Buch: Sally Potter
Kamera: Robbie Ryan
Schnitt: Emilie Orsini, Sally Potter, Jason Rayton
mit: Javier Bardem, Elle Fanning, Salma Hayek, Laura Linney

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A film by Roberto Minervini. In English with German subtitles.

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Shot in lumi­nous black and white, the latest from Roberto Minervini (The Other Side) del­ves into the ever­y­day lives of Black Americans fight­ing for jus­ti­ce and sur­vi­val in the sum­mer of 2017, wea­ving mas­terful­ly bet­ween four wren­ching sto­ry­li­nes in New Orleans and Jackson County, Mississippi.

Throughout his care­er the Italian-born, Texas-based Roberto Minervini (The Other Side, Wavelengths ’15) has estab­lished a pro­vo­ca­ti­ve cine­ma­tic style and mode of pro­duc­tion, immer­sing hims­elf in the com­mu­ni­ties in which he works. The results are often reve­la­to­ry in the most lite­ral sen­se, yiel­ding unfor­gettable and vis­ce­ral moving images of rare­ly seen lives on the margins.

Minervini’s fifth fea­ture, What You Gonna Do When the World’s on Fire?, is cer­tain to be one of the year’s most tal­ked-about films. Shot in lumi­nous black and white, the film del­ves into the ever­y­day lives of Black Americans fight­ing for jus­ti­ce and sur­vi­val in the sum­mer of 2017, shif­ting mas­terful­ly bet­ween four wren­ching sto­ry­li­nes in New Orleans and Jackson County, Mississippi.

The film obser­ves Judy Hill, who stri­ves to keep her fami­ly and fri­ends afloat (finan­ci­al­ly, as much as emo­tio­nal­ly) as her bar is threa­ten­ed; the two young brot­hers Ronaldo and Titus, who­se neigh­bour­hood is plagued by vio­lence; Kevin, the Big Chief of the Indian tra­di­ti­on of Mardi Gras, who is kee­ping the cul­tu­ral heri­ta­ge of his peo­p­le ali­ve; and The New Black Panthers, who car­ry out a door-to-door peo­p­le’s inves­ti­ga­ti­on of a kil­ling attri­bu­ted to the Ku Klux Klan.

A film of urgen­cy, com­mu­ni­ty, righ­teous anger, and grace, it is impos­si­ble to be unaf­fec­ted by the peo­p­le encoun­te­red in What You Gonna Do. With start­ling inti­ma­cy, seam­less pro­xi­mi­ty, and a skilful struc­tu­ral design, Minervini’s por­traits coale­s­ce into a powerful indict­ment of white supre­ma­cy in the American South, and a moving tes­ta­ment to human digni­ty, empa­thy, and resilience.

ANDRÉA PICARD

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Credits:

Italien/USA/Frankreich 2018, 123 Min., eng­li­sche OmU, schwarz-weiß
Regie, Drehbuch: Roberto Minervini
Kamera: Diego Romero
Schnitt: Marie-Hélène Dozo

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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

Termine:

• 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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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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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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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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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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ISADORAS KINDER, offi­zi­el­ler Trailer from eksys­tent dis­tri­bu­ti­on on Vimeo.

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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.