A film by Valentina Primavera. In Italian with German subtitles.
A wife wants a divorce; her daughter picks up her camera. Hope blossoms. Perhaps the chaos of suffering, contempt and violence will finally subside. But families are families and fathers remain fathers. Then what about the mother? A homage to a smart, vulnerable and strong woman.
AT/IT/DE 2018, 80 Min., ital. OmU
Regie & Kamera: Valentina Primavera
Schnitt: Federico Neri
A film by Valentina Primavera. In Italian with German subtitles.
A wife wants a divorce; her daughter picks up her camera. Hope blossoms. Perhaps the chaos of suffering, contempt and violence will finally subside. But families are families and fathers remain fathers. Then what about the mother? A homage to a smart, vulnerable and strong woman.
AT/IT/DE 2018, 80 Min., ital. OmU
Regie & Kamera: Valentina Primavera
Schnitt: Federico Neri
A film by Grit Lemke . On December 13th + 14th at the fsk.
„My swing stands in an enchanted garden, just behind the railway embankment. When I’m at the top of the swing, I see trains squealing by day and night, leaving black dust behind. They come from huge holes gaping between our villages. As a child I thought the whole world looked like this. Holes with villages in between, my swing in the middle. And the trains. They are coal trains.”
Gerhard Gundermann (1955–1998), singer-songwriter, poet and excavator operator in the Lusatian brown coal mines. In this region, global problems are condensed on a local level as if by a burning glass – from structural change to climate crisis. Mostly unpublished archive material and Gundermann’s songs enter into a dialogue with observations and conversations in his “district”, accompanied by the voice-over of the director, who is no less deeply rooted in the coal mining district. Home and its destruction through strip mining, utopian ideas and the question of individual responsibility run through the songs, as do their consequences for gainful employment and the environment at the end of the industrial age. And they are more topical than ever today: “Where my swing stood and later your excavator there is now a lake.”
Frederik Lang
DE 2019, 98 Min.
Regie: Grit Lemke
Kamera: Uwe Mann
Schnitt: Sven Kulik
A film by Stéphane Riethauser . In French with German subtitles.
Madame − that’s Caroline. An elderly lady, who immediately makes it clear that there is more to her than just a coquettish hairstyle and bourgeois manners. The focal point of the movie is the relationship with her grandson, filmmaker Stéphane Riethauser. Madame is a double self-portrait, in which the matriarch and her gay grandson confide in each other. With humor but in a profound manner and with subversive force, the film deconstructs gender stereotypes and illustrates the saga of a middle-class family with archive pictures.
CH 2019, 93 Min., frz. OmU
Regie, Buch & Kamera: Stéphane Riethauser
Schnitt: Natali Barrey
MADAME (offizieller Trailer/DEU UT) from Stéphane Riethauser on Vimeo.
A film by Claire Pijman. In English, French and Dutch with German subtitles.
Robby Müller (1940–2018) was a luminary, but not in the way this term is commonly used. He could easily have played one of the wise and taciturn Indians in Jim Jarmusch’s Acid Western “Dead Man”. But that was impossible because he was the DOP of this film, for which he conjured his special, firm and almost painterly, but also transparent and shimmering light onto the screen, as he did for around 70 other masterpieces of international auteur cinema.
Over decades the cinematographer kept a video diary which the filmmaker Claire Pijman already worked with for the great exhibition “Master of Light” at the Amsterdam EYE Film Museum and which she now uses as the central pool of images for her own film, “Living the Light”. Fellow cinematographer Agnès Godard says about a sequence between Dennis Hopper and Nicholas Ray from Wim Wenders’ “The American Friend” that mastership for her is achieved only when the grandeur of the cinematography makes itself vanish from a scene because it becomes its natural component. Strange that one always feels that one can almost hear Robby Müller’s images. In “Living the Light”, this impression is underlined by delicately improvised soundscapes by Jim Jarmusch and Carter Logan.
Ralph Eue
NL DE 2018 86 Min. OmU (Engl., Niederl., Franz. mit deutschen Untertiteln)
Regie : Claire Pijman
Kamera : Robby Muller, Claire Pijman
Schnitt: Katharina Wartena
Music: Squrl (Jim Jarmusch and Carter Logan)
offizielle Webseite (engl.) livingthelight.nl
Living the Light – die Bilderwelten des Robby Müller / Trailer from Chromosom Film on Vimeo.
Ein Film von Bernhard Sallmann.
Mit Havelland Fontane schließt Bernhard Sallmann seine 2016 begonnene vierteilige Serie zu Theodor Fontanes (1819−1898) Reisereportagen „Wanderungen durch die Mark Brandenburg“ ab. Während die ersten drei Filme Erkundungen des ländlichen Raums sind, ist in Havelland Fontane auch die Verschmelzung einer Flusslandschaft mit dem Großraum Berlin-Potsdam ein zentrales Thema. Fontane legt die Grundlagen der Entstehung der Mark frei und schildert das Ringen der naturreligiösen wendischen Kultur mit der aus dem Westen andrängenden christlichen im 12. Jahrhundert. Er schildert dabei an vie-len Beispielen die Austauschverhältnisse der Mark mit der rasch wachsenden Großstadt. In den gemäldehaften und lang verweilenden Tableaus entsteht ein Resonanzraum, der Zeiten, Orte und verblüffende Geschichten amalgamiert.
DE 2019, 109 Min.,
Regie, Kamera: Bernhard Sallmann
A film by Karim Aïnouz. Portuguese with German subtitles.-
Rio de Janeiro, 1950. Eurídice, 18, and Guida, 20, are two inseparable sisters living at home with their conservative parents. Although immersed in a traditional life, each one nourishes a dream: Eurídice of becoming a renowned pianist, Guida of finding true love. In a dramatic turn, they are separated by their father and forced to live apart. They take control of their separate destinies, while never giving up hope of finding each other. Adapted from a novel, Karim Aïnouz’s film is an astute anti-racist melodrama that reveals the mechanisms of patriarchal society. Behind the historic backdrop lies the dream of a Brazil based on justice, equality, and diversity.
A Vida Invisível De Eurídice Gusmão
BR/DE 2019, 139 Min., portugischische OmU
Regie: Karim Aïnouz
Kamera: Hélène Louvart
Schnitt: Heike Parplies
mit:
Fernanda Montenegro
Carol Duarte
António Fonseca
Gregório Duvivier
Júlia Stockler
A film by Sabu. In Japanese with German subtitles.
Hiroshi (Sho Aoyagi), Takeru (Keita Machida) and Tetsuo (Nobuyuki Suzuki) all live in the same city. Hiroshi is an unpopular idol singer and he feels a void in his life. He is placed under confinement by his fan Masako. Takeru believes that a girl returns to consciousness. Tetsuo decides to take revenge on a yakuza who sent him to prison.
JP 2018, 90 Min., jap. OmU
Regie: Sabu
Buch: Sabu
mit:Sho Aoyagi, Keita Machida, Nobuyuki Suzuki
A film by Paul Schrader.
The film sets in on November 25, 1970, the last day in Mishima’s life. He is shown finishing a manuscript. Then, he puts on a uniform he designed for himself and meets with four of his most loyal followers from his private army.
In flashbacks highlighting episodes from his past life, the viewer sees Mishima’s progression from a sickly young boy to one of Japan’s most acclaimed writers of the post-war era (who in adulthood trains himself into the acme of muscular discipline, owing to a morbid and militaristic obsession with masculinity and physical culture). His loathing for the materialism of modern Japan has him turn towards an extremist traditionalism. He sets up his own private army and proclaims the reinstating of the emperor as head of state.
The biographical sections are interwoven with short dramatizations of three of Mishima’s novels: In The Temple of the Golden Pavilion, a stuttering aspirant sets fire to the famous Zen Buddhist temple because he feels inferior at the sight of its beauty. Kyoko’s House depicts the sadomasochistic (and ultimately fatal) relationship between a middle-aged woman and her young lover, who is in her financial debt. In Runaway Horses, a group of young fanatic nationalists fails to overthrow the government, with its leader subsequently committing suicide. Dramatizations, frame story, and flashbacks are segmented into the four chapters of the film’s title, named Beauty, Art, Action, and Harmony of Pen and Sword.
The film culminates in Mishima and his followers taking hostage a General of the Japan Self-Defense Forces. He addresses the garrison’s soldiers, asking them to join him in his struggle to reinstate the Emperor as the nation’s sovereign. His speech is largely ignored and ridiculed. Mishima then returns to the General’s office and commits seppuku.
(wikipedia)
JP/US 1985, 121 Min., Regie: Paul Schrader, mit: Ken Ogata, Masayuki Shionoya, Hiroshi Mikami, Junya Fukuda
Wir freuen uns sehr, dieses Jahr Partnerkino der französischen Filmwoche Berlin zu sein.
In unserem ausgesuchtem Programm finden sich bekannte Namen wie Agnes Vardas, deren letzten Film und Berlinale-Beitrag VARDA PAR AGNÈS wir zeigen (Sa., 20:00), oder der Eröffnungsfilm von Venedig von Cannes-Gewinner Kore-Eda, LA VÉRITÉ, der erstmals außerhalb Japans drehte, dafür mit Catherine Deneuve und Juliette Binoche (Di., 3.12., 20:00 Uhr). Auch Catherine Corsini ist keine Unbekannte, diesmal setzt sie mit UN AMOUR IMPOSSIBLE (So., 1.12., 20:15) einen Bestseller in Szene. Ihre Hauptdarstellerin Virginie Efira hat bei uns am Sonntag ein Doppel: in SIBYL, Justine Triets Wettbewerbsbeitrag von Cannes, spielt sie eine Autorin und Psychotherapeutin.
Besuch bekommen wir von zwei recht neuen Gesichtern in der Filmwelt: Claire Burger (Party Girl) stellt C’EST ÇA L’AMOUR, eine Scheidungsgeschichte mit Bouli Lanners vor (29.12., 20:00), und Stéphane Batut seine Geist-Geschichte VIF-ARGENT / DER FLÜSSIGE SPIEGEL, der in Cannes in der spannenden Nebenreihe ACID seine Premiere hatte (2.12. 20:00)
Eröffnet wird „unsere“ Filmwoche mit dem Dokumentarfilm über Leidenschaft für Klänge und Geräusche, L’ESPRIT DES LIEUX (28.12., 20:00), abschließen werden wir mit dem neusten Film der mit ihren Filmen bei uns gern gesehenen Mia Hansen-Løve (Un amour de jeunesse, L’avenir), MAYA, der einem Fotoreporter, der gerade aus Geiselhaft befreit wurde, nach Goa folgt (4.12. 20:00). Alle Filme laufen in der franz. Originalfassung mit deutschen oder englichen Untertiteln.
Einige Werke haben 2020 reguläre Starts, u.a. VARDA PAR AGNÈS, LA VÉRITÉ, VIF-ARGENT, SIBYL, und auch der Eröffnungsfilm LES MISERABLES (unter dem dt.Titel DIE WÜTENDEN) wird bei uns im Januar zu sehen sein.
A film by Francesco Bruni. In Itlaian with German subtitles.
A young man named Alessandro begrudgingly accepts a job as a companion for Giorgio, an elderly poet with Alzheimer’s. As they banter during their daily walks, they slowly piece together Giorgio’s long-buried memories, revealing clues to a hidden treasure.
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Tutto quello che vuoi
Italien 2017, 106 Min., ital. OmU
Regie: Francesco Bruni
Kamera: Arnaldo Catinari
Schnitt: Cecilia Zanuso
mit: Andrea Carpenzano, Giuliano Montaldo, Donatella Finocchiaro
