A film by Robert Budina. In Albanian with German subtitles.

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Besnik is a lonely she­p­herd and devo­ted Muslim, haun­ted by unful­fil­led love. He is the son of a Catholic mother and form­er­ly Communist father whom he takes care of in an Albanian vil­la­ge in the moun­ta­ins. Up here, Christians and Muslims have found a way to co-exist peaceful­ly. Even after the dis­co­very that the old mos­que used to be a church and that the buil­ding was actual­ly shared by the two reli­gi­ons in the past, the calm of dai­ly life can be pre­ser­ved – with Besnik’s help. After the death of his father, howe­ver, dra­stic chan­ges threa­ten Besnik’s mul­ti-faith fami­ly and the she­p­herd is forced to seek his own path.

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Credits:

Streha mes reve
AL 2018, 84 Min., alban. OmU
Regie und Buch: Robert Budina
Kamera: Marius Panduru
Schnitt: Ștefan Tatu 
mit: Arben Bajraktaraj, Esela Pysqyli, Irena Cahani, Bruno Shllaku, Osman Ahmeti, Muzbaidin Qamili, Helga Boshnjaku, Suela Bako, Rubin Boshnjaku

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• noch kei­ne oder kei­ne mehr 

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Trailer:

A SHELTER AMONG THE CLOUDS – Trailer from Pluto Film on Vimeo.

Im Kino mit deut­schen Untertiteln.

A film by François Ozon. In French with German subtitles.

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Alexandre lives with his wife and child­ren in Lyon. One day he dis­co­vers by chan­ce that the priest who abu­sed him when he was a boy scout is still working with young peo­p­le. Long repres­sed memo­ries awa­ken. Distraught, Alexandre final­ly finds the cou­ra­ge to take action against the man. His search for fur­ther vic­tims of the cler­gy­man, who is high­ly respec­ted in his office, leads Alexandre to François and Emmanuel. Each of the­se three men is strugg­ling with hims­elf in a dif­fe­rent way. And each of them will have to do batt­le with the shadows of their past in order to cope with the far-rea­ching con­se­quen­ces of this pro­cess. The crea­ti­on of the self-help orga­ni­sa­ti­on ‘La Parole Libérée’ (The Liberated Word) is just the first step.
Based on the real case of Father Bernard Preynat who in 2016 was char­ged with sexu­al­ly assaul­ting around 70 boys in Lyon, François Ozon por­trays the vic­tims as adult men and reve­als the lifel­ong wounds they have sus­tained. At the same time, the film cri­ti­ci­s­es the church’s silence on pae­do­phi­lia and asks about its com­pli­ci­ty. As of January 2019, Cardinal Philippe Barbarin is stan­ding tri­al for ‘non-den­un­cia­ti­on of sexu­al aggression’.

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Credits:

Grâce à Dieu
FR 2019, 137 Min., frz. OmU
Regie, Buch: François Ozon
Kamera: Manu Dacosse
Schnitt: Laure Gardette
mit: Melvil Poupaud, Denis Ménochet, Swann Arlaud, Éric Caravaca, François Marthouret, Bernard Verley, Martine Erhel 

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• noch kei­ne oder kei­ne mehr 

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Trailer:

A film by Annemarie Jacir. In Arabic with German subtitles.

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Abu Shadi is a divorced father and a school tea­cher in his mid-60s living in Nazareth. After his daughter’s wed­ding in one month he will be living alo­ne. Shadi, his archi­tect son, arri­ves from Rome after years abroad to help his father in hand deli­ve­ring the wed­ding invi­ta­ti­ons as per local Palestinian cus­tom. As the estran­ged pair spend the day tog­e­ther, the ten­se details of their rela­ti­onship come to a head chal­len­ging their fra­gi­le and very dif­fe­rent lives.

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Credits:

PS/FR/DE/CO/NO/QA/AE 2017, 96 min,  Arabisch mit deut­schen Untertiteln
Regie & Buch: Annemarie Jacir 
Kamera: Antoine Héberlé 
Schnitt: Jacques Comets 
mit: Mohammad Bakri, Saleh Bakri, Maria Zreik

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• noch kei­ne oder kei­ne mehr 

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A film by Louis-Julien Petit. In French with German subtitles.

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Envol (mea­ning “taking flight”) is a home­l­ess day shel­ter for women in the bleak north of France. It is run by women: Manu (Corinne Masiero, who was unfor­gettable as a woman living out of her car in Louise Wimmer – SFFF 2013), Audrey (Audrey Lamy), and Angélique (Déborah Lukumuena). They are assis­ted by a vol­un­teer, the posh, soon-to-be-sin­gle, and nai­ve Hélène (Noémie Lvovsky). They genui­ne­ly care for the women who line up at the gates every mor­ning. The shel­ter offers a warm show­er, a hot meal, cama­ra­de­rie, and coun­seling. But the city decla­res that Envol is not hel­ping enough women get off the streets. It is not pro­fi­ta­ble and the decis­i­on is bru­t­ally final: Envol will clo­se in three months.

Audrey, Manu, and the others deci­de to make the best out of the­se three months, and do wha­te­ver it takes to help their girls one last time. And that includes ben­ding the rules. The shel­ter beco­mes a kind of boot camp for reinte­gra­ti­on, with the social workers clan­des­ti­ne­ly allo­wing the women to sleep the­re over­night and trai­ning them in the day to beco­me con­fi­dent and func­tio­ning mem­bers of society.

Invisibles suc­cessful­ly mixes come­dy with a docu­men­ta­ry approach. Real-life home­l­ess women por­tray­ing them­sel­ves with humor star in the film. That includes Adolpha van Meerhaeghe. Like the woman she por­trays –Chantal, may­be the most memo­rable cha­rac­ter of the film – she used to sleep out­side the Lille train sta­ti­on and ser­ved time in pri­son for kil­ling her vio­lent hus­band. Actress Corinne Masiero hers­elf, now the star of one of France’s most popu­lar TV crime dra­ma series, Capitaine Marleau, open­ly talks about being home­l­ess in her twen­ties. Director Louis-Julien Petit spent a year vol­un­tee­ring in women’s home­l­ess shel­ters, say­ing that he wan­ted to get the tone of the film right: “I had a lot of pre­con­cei­ved ide­as but when I was in the shel­ters, what I found was peo­p­le who were just like me.”

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Credits:

Les Invisibles
FR 2019, 102 Min., frz. OmU
Regie und Buch: Louis-Julien Petit
nach dem Buch von Claire Lajeunie „Sur La Route Des Invisibles, Femmes Dans La Rue“
Kamera: DAVID CHAMBILLE
Schnitt: ANTOINE VAREILLE & NATHAN DELANNOY
mit: Audrey Lamy, Corinne Masiero, Noémie Lvovsky, Déborah Lukumuena, Sarah Suco, Brigitte Sy, Pablo Pauly, Quentin Faure u.a.

Termine:

• noch kei­ne oder kei­ne mehr 

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Trailer:

A film by Max Linz. In German with English subtitles.

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The Institute for Cybernetics and Simulation Research is threa­ten­ed with clo­sure – the start­ing point for this sati­re about how the uni­ver­si­ty sys­tem is to be trans­for­med into a tur­bo-capi­ta­list rese­arch machi­ne. Phoebe Phaidon, a high­ly qua­li­fied, up-and-coming young aca­de­mic, accepts yet ano­ther tem­po­ra­ry tea­ching con­tract. With her pro­gres­si­ve ide­als on cli­ma­te rese­arch still more or less int­act, she acts as a link to the frus­tra­ted, yet com­bat-rea­dy stu­dents who have occu­p­ied the libra­ry. On the other side of the batt­le lines are the estab­lished facul­ty, who­se will to sur­vi­ve in the cess­pool of third-par­ty fun­ding acqui­si­ti­on has ground them down into vain cynics for whom no ridi­cu­lous con­ces­si­on to eva­lua­ti­on mad­ness is too gro­tes­que. Max Linz crafts his film with a keen sen­se of Berlin’s sen­si­ti­vi­ties, urban back­drops, office décor and aca­de­mic atti­re. And he exag­ge­ra­tes deca­dent uni­ver­si­ty jar­gon with gus­to, its buz­zwords func­tio­ning almost like the bait in beha­viou­ral stu­dies. By the end, the film has prac­ti­cal­ly beco­me a musi­cal, with a cat­chy tune that could be a post-capi­ta­list revo­lu­tio­na­ry anthem: “Why can’t it be nice here, why are we not happy?”

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Credits:

DE 2019, 80 Min.
Regie: Max Linz
Kamera: Carlos Andrés López
Schnitt: Bernd Euscher, René Frölke
Mit: Sarah Ralfs, Sophie Rois, Philipp Hauß, Bernd Moss, Maryam Zaree, Bastian Trost, Leonie Jenning, Luis Krawen, Martha von Mechow, Max Wagner, Anna Papenburg, Olga Lystsova, Kerstin Grassmann, Jean Chaize, Friedrich Liechstenstein

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• noch kei­ne oder kei­ne mehr 

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Trailer (Ausschnitt):

A film by Gabrielle Brady. In English with German subtitles.

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Christmas Island, an iso­la­ted part of the world, loca­ted bet­ween Indonesia and Australia, is one of the of-ter­ri­to­ry sites Australia uses to detain peo­p­le see­king refu­ge or asyl­um (or a bet­ter life) on its ter­ri­to­ry pro­per. The tro­pi­cal island is also the site of ano­ther kind of migra­ti­on: Usually at the begin­ning of the wet sea­son thou­sands of red crabs make their way from the forest to the sea shore, a pas­sa­ge that finds pro­tec­tion from the peo­p­le on Christmas Island. In one sce­ne in Gabrielle Brady’s docu­men­ta­ry we see her prot­ago­nist, the the­ra­pist Poh Lin Lee, careful­ly clea­ring the road in order to avo­id crab road­kill. Her main task on the island (and her voca­ti­on, we may sur­mi­se) is to help some of the detai­nees on the island, who suf­fer from the uncer­tain­ty of their sta­tus, and who often react by har­ming them­sel­ves. Poh Lin Lee offers an ori­gi­nal the­ra­py using a sand­box as a device to address trau­ma. ISLAND OF THE HUNGRY GHOSTS is as much a subt­ly radi­cal poli­ti­cal docu­men­ta­ry as it is a deep­ly moving medi­ta­ti­on on extre­me con­di­ti­ons in a place haun­ted by ghosts of all kind – the big­gest ghost being the unjust world order against which the­re is no easy offe­ring. (Bert Rebhandl)

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Credits:

DE/GB/AU 2018, 94 Min., eng­li­sche OmU
Regie und Buch: Gabrielle Brady
Kamera: Michael Latham
Schnitt: Katharina Fiedler

Termine:

• noch kei­ne oder kei­ne mehr 

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Im Kino mit deut­schen Untertiteln.

A Film by Thomas-Moritz Helm. In German and English with  English and German subtitles.

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Summer in Berlin. Two Berliners, Maria and Niels, and one British stu­dent, Chloë, are three twen­ty-some­things. Drifting libi­di­nous­ly through Berlin, they plun­ge head­long into a care­free and chao­tic love affair with each other. Boisterously living life to the full, they grasp ever­y­thing and any­thing they plea­se. Their only com­pass seems to be the plea­su­re they expe­ri­ence tog­e­ther – which works per­fect­ly well until Chloë unin­ten­tio­nal­ly falls pregnant. Insecurity and anger, jea­lou­sy and doubt now break out. An abor­ti­on is plan­ned, and rejec­ted. Who is allo­wed to have a say, and when, and about what? Their unu­su­al tri­ni­ty dis­sol­ves and their once balan­ced rela­ti­onship muta­tes into shif­ting con­stel­la­ti­ons of two – until it seems it might be pos­si­ble to res­to­re a pre­ca­rious equi­li­bri­um, at least for a moment. Is their uto­pia within reach or is this just the calm befo­re the storm? To love dif­fer­ent­ly is hard work. The world is not pre­pared for Maria, Niels and Chloë. And neither are they.

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Credits:

DE 2018, 93 Min.
Regie & Buch: Thomas-Moritz Helm
Kamera: Stefan Neuberger
Schnitt: Elena Weihe
Darsteller: Paula Knüpling, Maximilian Hildebrandt, Tala Gouveia, Roland Bonjour, Nora Decker, Carrie Getman

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• noch kei­ne oder kei­ne mehr 

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Trailer:

A film by Maria Alché.  In Spanish with German subtitles.

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Marcela’s world beco­mes stran­ge and unfa­mi­li­ar after her sis­ter Rina dies. She feels lost in her own house, and her rela­ti­onship with her hus­band and child­ren seems to suf­fer. But when Nacho, a young fri­end of her daughter’s, unex­pec­ted­ly drops by, she starts to talk and walk with him. Gradually Marcela beg­ins to have con­ver­sa­ti­ons with rela­ti­ves from ano­ther dimension.

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Credits:

AR/BR/DE/NO 2018, 91 Min., span. OmU
Regie & Buch: Maria Alché
Kamera: Hélène Louvart 
Schnitt: Livia Serpa 
mit: Mercedes Morán, Marcelo Subiotto,
Esteban Bigliardi, Diego Vélazquez

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• noch kei­ne oder kei­ne mehr 

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Trailer:

A film by Sabrina Sarabi. Starts August 29th at the fsk. In German with English subtitles.

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Nineteen-year-old David dreams of being a con­cert pia­nist on the inter­na­tio­nal stage. Although his talent made him spe­cial in his home town, he soon rea­li­zes that at the con­ser­va­to­ry he is but one of many talen­ted stu­dents. His class­ma­te Walter is his stron­gest com­pe­ti­tor, and not only musi­cal­ly. Only an affair with Marie, a con­fi­dent voice major with a zest for life, gives him the cou­ra­ge to com­pe­te for a high­ly cove­ted scho­lar­ship in New York. Yet with expec­ta­ti­ons of him rising all around, David’s life starts to get out of control.

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DE 2019, 95 min.
Buch und Regie: Sabrina Sarabi
Kamera: Max Preiss
Schnitt: Hannah Schwegel, Jan von Rimscha
mit: Louis Hofmann, Liv Lisa Fries, Johannes Nussbaum, Ursina Lardi, Jenny Schily, Saskia Rosendahl

Termine:

• noch kei­ne oder kei­ne mehr 

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Trailer:

A film by Emma Davie & Peter Mettler. In English with German subtitles.

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An inspi­red col­la­bo­ra­ti­on bet­ween film­ma­kers Emma Davie (I Am Breathing) and Peter Mettler (The End of Time) and radi­cal wri­ter and phi­lo­so­pher David Abram (The Spell of the Sensuous), Becoming Animal is an urgent and immersi­ve audio­vi­su­al quest, for­ging a path into the places whe­re humans and other ani­mals meet, whe­re we pry open our sen­ses to wit­ness the so-cal­led natu­ral world—which in turn wit­nesses us, promp­ting us to reflect on the very essence of what it means to inha­bit our ani­mal bodies.

Shot in and around Grand Teton National Park, with its diz­zy­ing diver­si­ty of wild­life, trails of curious humans in RV’s and bil­li­on-year-old geo­lo­gy, the film is a gey­ser of pro­vo­ca­ti­ve ide­as and heigh­ten­ed sen­sa­ti­ons rela­ted to the sub­li­me cir­cuit­ry that con­nects us to our ever-shif­ting sur­roun­dings.  A snail’s body beco­mes an immense land­scape as the sound­scape immer­ses us in shi­ve­ring lea­ves, rus­hing rivers and the weird spacey pitch of elk bug­ling at night. Becoming Animal embraces the sen­so­ry tools of cine­ma to trace how the writ­ten word and tech­no­lo­gy has affec­ted how we see.

Driven by won­der, curio­si­ty and a desi­re for balan­ce bet­ween eco­lo­gi­cal and tech­no­lo­gi­cal impe­ra­ti­ves, Becoming Animal is an invi­ta­ti­on to explo­re our rela­ti­onship with this “more than human world” and reco­g­ni­se it for what it is: an exqui­si­te­ly intri­ca­te sys­tem in which ever­y­thing is ali­ve and expres­si­ve, humans, ani­mals and land­scapes are inex­tri­ca­bly inter­de­pen­dent, and the­re is no such thing as emp­ty space.

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Credits:

CH/CA/GB 2018, 78 Min., engl. OmU
Regie: Emma Davie & Peter Mettler
Kamera: Peter Mettler

Termine:

• noch kei­ne oder kei­ne mehr 

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