Author: fsk

A film by Markus Schleinzer.  In French and German with German subtitles.

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In the ear­ly 18th cen­tu­ry, a group of young slaves is brought to Europe. Among them is a 10-year-old boy whom a mar­chio­ness sel­ects to be an object of stu­dy. Given the name Angelo, he recei­ves a com­pre­hen­si­ve edu­ca­ti­on in lan­guages and music and is pas­sed around from Messina to Vienna as an exo­tic but Europeanized valet. Only Magdalena regards him as more than a deco­ra­ti­ve exhi­bi­ti­on pie­ce. Following his high­ly acclai­med fea­ture-film debut MICHAEL (2011), Austrian direc­tor Markus Schleinzer traces the true sto­ry of Angelo Soliman in well-com­po­sed tableaux vivants. This peri­od film was shot in the clas­sic 4:3 aspect ratio, cor­re­spon­ding to Angelo’s nar­ro­wed per­spec­ti­ve of being put on dis­play. The results are powerful imagery and an evo­ca­ti­ve film that exami­nes the exces­ses of colo­nia­lism both in their his­to­ri­cal con­text and in the pre­sent day.

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AT/LU 2018, 111 Min., fran­zö­sisch-deut­sche OmU-Fassung
Regie: Markus Schleinzer
Kamera: Gerald Kerkletz
Schnitt: Pia Dumont
mit: Makita Samba, Alba Rohrwacher, Larisa Faber, Kenny Nzogang, Lukas Miko

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A film by Florian Koerner von Gustorf. In German with English subtitles.

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Paul and Astrid want to spend a roman­tic weekend in Hungary, but when Astrid reco­gni­zes one of the other hotel guests as her child­hood swee­the­art, the couple‘s trip turns into a trip to the past.

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DE 2019, 90 Min.,
Regie: Florian Koerner von Gustorf
Kamera: Reinhold Vorschneider
Schnitt: Mona Bräuer
mit: Christiane Paul, Ronald Zehrfeld, Sebastian Hülk

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A film by Noah Baumbach. In English with German subtitles.

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 Charlie (Adam Driver) is a play­w­right who wants to stay in New York. Nicole (Scarlett Johansson) is an actress who has been given a desi­ra­ble tele­vi­si­on role and has the­r­e­fo­re moved to Los Angeles. The distance bet­ween the two is tearing their alre­a­dy ten­se rela­ti­onship apart. The film goes back and forth through time, show­ing how Charlie and Nicole fell in love and built a life tog­e­ther along­side a chro­nic­le of their marital dismantling.

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USA 2019, 134 Min., engl. OmU
Regie: Noah Baumbach
Musik: Randy Newman
Kamera: Robbie Ryan
Schnitt: Jennifer Lame
mit: Scarlett Johansson, Adam Driver, Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty

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A film by Wang Xiaoshuai. In Chinese (Mandarin) with German subititles.

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‘We’re wai­ting to grow old’. This sen­tence brief­ly sums up Yaoyun and his wife Liyun’s bit­ter rea­li­sa­ti­on about their lives. They were once a hap­py fami­ly – until their son drow­ned play­ing by a reser­voir. And so Yaojun and Liyun lea­ve their home and plun­ge into the big city, alt­hough nobo­dy knows them the­re and they can­not even under­stand the local dialect. Their adopted son Liu Xing does not offer them the com­fort they had hoped for eit­her. Defiantly rejec­ting his ‘for­eign’ par­ents, he one day dis­ap­pears altog­e­ther. The mar­ried cou­ple are repea­ted­ly enmes­hed in their memo­ries. Finally, they deci­de to return to the site of their lost hopes.
In this fami­ly saga span­ning three deca­des of Chinese histo­ry, the pri­va­te and the poli­ti­cal mer­ge and the indi­vi­du­al gets caught up in the gears of a socie­ty in the throes of con­stant chan­ge. Part melo­dra­ma, part cri­tique of the times, this film takes us from the country’s uphe­aval in the 1980s fol­lo­wing the Cultural Revolution to the pro­spe­ring tur­bo-capi­ta­lism of the pre­sent day. Told in swee­ping tableaux, it makes visi­ble the deep scars that lie beneath the sur­face of an osten­si­bly unbro­ken suc­cess story.

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Di jiu tian chang
China 2019, 185 Min., chin. OmU
Regie: Wang Xiaoshuai
Kamera: Kim Hyun-seok
Schnitt: Lee Chatametikool
mit: Wang Jingchun, Yong Mei, Qi Xi, Wang Juan, Du Jiang

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When the Taliban puts a boun­ty on Afghan direc­tor Hassan Fazili’s head, he is forced to flee the coun­try with his wife and two young daugh­ters. Capturing the family’s jour­ney first­hand, Fazili docu­ments their har­ro­wing trek across num­e­rous bor­ders reve­al­ing the dan­ger and uncer­tain­ty facing refu­gees see­king asyl­um jux­ta­po­sed with the unbre­aka­ble love shared among­st the fami­ly on the run.

„There are many films about the cur­rent refu­gee cri­sis but I’ve not seen a docu­men­ta­ry quite as inti­ma­te as this one… Fazili and his wife are both film­ma­kers, so they have film­ma­kers’ eyes. They catch moments of true cine­ma­tic beau­ty, but the­se moments stand out as grace notes to an other­wi­se harsh existence.”
Elijah Davidson, Docs/Ology

„A valuable, first-hand refu­gees’ sto­ry… Full of social and poli­ti­cal urgen­cy… A family’s joint tes­tim­o­ny, heart­felt and heart­brea­king, par­ti­cu­lar yet haun­tingly representative.”
Caryn James, The Hollywood Reporter

A film by Lone Scherfig.In English with German subtitles.

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Clara arri­ves in win­try New York with her two sons on the back seat of her car. The jour­ney, which she has dis­gu­i­sed as an adven­ture for her children’s sake, is soon reve­a­led to be an escape from an abu­si­ve hus­band and father. He is a cop, and Clara is despera­te­ly try­ing to elude his attempts to pur­sue her. The three have litt­le more than their car, and when this is towed away, they are left pen­ni­less on the street. But the big cold city shows mer­cy: in their search for refu­ge, the fami­ly meets a sel­fless nur­se named Alice who arran­ges beds for them at an emer­gen­cy shel­ter. While ste­al­ing food at a Russian restau­rant cal­led ‘Winter Palace’, Clara meets an ex-con, Marc, who has been given the chan­ce to help the old eatery regain its for­mer glo­ry. The ‘Winter Palace’ soon beco­mes a place of unex­pec­ted encoun­ters bet­ween peo­p­le who are all under­go­ing some sort of cri­sis and whom fate has now brought tog­e­ther. With a keen eye for cha­rac­ter, Lone Scherfig explo­res human beha­viour in extre­me con­di­ti­ons. She depicts the harsh­ness of life in the urban jungle, but she also demons­tra­tes what can grow when stran­gers approach each other in fri­end­ship and with an open heart.

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DK/CA/SE/DE/FR 2019, 112 Min., engl. OmU
Regie, Buch: Lone Scherfig
Kamera: Sebastian Blenkov
Schnitt: Cam McLauchlin
mit: Zoe Kazan, Andrea Riseborough, Tahar Rahim, Caleb Landry Jones, Jay Baruchel, Bill Nighy

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A film by Mariko Minoguchi. In German with English subtitles.

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For Nora and Aron it is love at first sight when they encoun­ter each other on a rai­ny day whilst taking the under­ground. It was a com­ple­te coin­ci­dence, Nora says. Aron dis­agrees: it was pre­de­ter­mi­ned. But the young cou­ple then get caught up in a vio­lent bank rob­be­ry. Aron is shot by the mas­ked gun­man and dies in Nora’s arms. For Nora, time stands still. She numbs her pain, spen­ding the night with a stran­ger – Natan. He pro­vi­des Nora with sta­bi­li­ty. She has the stran­ge fee­ling that she knows him alre­a­dy, but does not yet know what real­ly con­nects them…

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DE 2019, 111 Min., OmeU
Regie: Mariko Minoguchi
Kamera: Julian Krubasik
Schnitt: Andreas Menn,
mit: Saskia Rosendahl, Julius Feldmeier, Edin Hasanovic, Jeanette Hain, Lilly Forgach

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Ein Film von Nils Olger. .

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Von sei­ner Großmutter erhält Nils Olger nach dem Tod des Großvaters eine Kassette. In ihr lie­gen Rollen mit Fotonegativen. »Da hast du nun alle unse­re Geheimnisse«, sagt sie. Die Bilder las­sen ahnen, wor­an der Großvater als SS-Angehöriger im zwei­ten Weltkrieg betei­ligt war. Olger folgt der Spur der Negative und begibt sich an ihre Entstehungsorte. Nach Österreich, Ungarn und Italien. Es ist der Versuch des Nachgeborenen, sei­ne Erinnerungen an den Großvater um die von ihm ver­schwie­ge­nen Elemente zu ergän­zen und mit­hil­fe der Negative ein voll­stän­di­ge­res Bild ent­ste­hen zu lassen.

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AU/DE 2018, 102 Min., Deutsch, Italienisch, Ungarisch, Rumänisch OmU
Regie: Nils Olger
Drehbuch: Nils Olger
Kamera: Nils Olger, Juri Schaden, Thomas Marschall
Schnitt: Nils Olger

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Eine eiser­ne Kassette – offi­zi­el­ler Trailer from bit­ters­weet GmbH on Vimeo.

A Film by Sally Potter fol­lo­wed by a Performance CONFESSIONS OF AN ACTRESS by Susanne Sachsse. On October 23rd at the fsk. In English.

The ground-brea­king first fea­ture from the direc­tor of ORLANDO and THE TANGO LESSON, THE GOLD DIGGERS is a key film of ear­ly Eighties femi­nist cine­ma. Made with an all-woman crew, fea­turing stun­ning pho­to­gra­phy by Babette Magolte and a score by Lindsay Cooper it embraces a radi­cal and expe­ri­men­tal nar­ra­ti­ve struc­tu­re. Celeste (Colette Laffont) is a com­pu­ter clerk in a bank who beco­mes fasci­na­ted by the rela­ti­onship bet­ween gold and power. Ruby (Julie Christie) is an enig­ma­tic film star in quest of her child­hood, her memo­ries and the truth about her own iden­ti­ty. As their paths cross they come to sen­se that the­re could be a link bet­ween the male strugg­le for eco­no­mic supre­ma­cy and the fema­le ide­al of mys­te­rious but impo­tent beauty.

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GB 1983 82 Min. engl. OV • Regie: Sally Potter • Drehbuch: Lindsay Cooper, Rose English, Sally Potter • Kamera: Babette Mangolte • Kostüm: Rose English • Musik: Lindsay Cooper • Mit: Julie Christie, Collette Laffont

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A film by Seamus Murphy. In English with German subtitles.

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A child curious­ly pres­ses its face against the win­dow of a car in which British musi­ci­an PJ Harvey and pho­to­jour­na­list and film­ma­ker Seamus Murphy are sit­ting. They are in Kabul, Afghanistan, one of three desti­na­ti­ons to which they are tra­vel­ling; the others are Kosovo and Washington, D.C. Harvey is sear­ching for inspi­ra­ti­on; coll­ec­ting impres­si­ons and words, obser­ving, lis­tening and absor­bing. Her thoughts can be heard in voice-over. Hers is the chro­nic­le of a stran­ger who­se atten­ti­ve gaze is direc­ted towards the rea­li­ty of ever­y­day life in the places she visits. Inspiration turns into poet­ry, which gives rise to songs for her album ‘The Hope Six Demolition Project’. Back in London, Harvey records the­se songs with her band in a pur­po­se-built stu­dio which ser­ves as a kind of peep­show, its one-way win­dow allo­wing inte­res­ted audi­en­ces to obser­ve the process.
Seamus Murphy trans­po­ses Harvey’s search for inspi­ra­tio­nal mate­ri­al and her inti­ma­te crea­ti­ve pro­cess into an impres­si­ve­ly poe­tic mon­ta­ge that never once dive­sts the musi­ci­an of her enig­ma­tic aura. A Dog Called Money mer­ges the filmmaker’s and the musician’s visi­ons in an extra­or­di­na­ry symbiosis.

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IR/GB 2019, 90 Min., engl. OmU
Regie, Buch: Seamus Murphy
Kamera: Seamus Murphy
Montage: Sebastian Gollek
mit: PJ. Harvey

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