A film by Andreas Köhler and Melanie Andernach, Starts June, 30th at the fsk.

Yasmin has lived an almost nor­mal life as a German ever sin­ce she was three years old. The fami­ly fled from Somalia during the civil war and now lives scat­te­red around the glo­be. When Yasmin’s grand­mo­ther no lon­ger wants to stay in her Ethiopian exi­le, a trans­na­tio­nal fami­ly dra­ma evol­ves, cir­cling around the essen­ti­al ques­ti­on: Where is Granny to live? And sud­den­ly, the fami­ly con­fronts their own aspi­ra­ti­ons: Have they actual­ly arri­ved whe­re they want to be? GLOBAL FAMILY is a twistful docu­men­ta­ry about a trans­na­tio­nal fami­ly dra­ma, in which four gene­ra­ti­ons of a refu­gee fami­ly each pur­sue their own dreams of fami­ly, home, and future.

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Credits:
Deutschland 2018,  91 Min., Dt., Som., Ital. mit dt. UT 
Regie: Andreas Köhler, Melanie Andernach
Kamera: Andreas Köhler
Schnitt: Nicole Kortlüke, Carina Mergens

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Termine:

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Sorry, this ent­ry is only available in Deutsch.

Die 4. Ausgabe des skan­di­na­vi­schen Filmfestivals bringt wie­der neue Filme aus Island, Dänemark, Schweden, Finnland und Norwegen.
Alle Filme im ori­gi­nal mit deut­schen Untertiteln.

Yarden / The Yard Der Journalist und allein­er­zie­hen­de Vater Anders ver­liert sei­ne Arbeit, nach­dem er eine Rezension sei­nes eige­nen Buches ver­öf­fent­licht hat. Um Arbeitslosigkeit zu ver­mei­den, nimmt er eine Stelle bei Yarden, der Verladestation für PKWs im Hafen von Malmö, an. Beim dem Job wird sei­ne Identität auf eine fünf­stel­li­ge Nummer redu­ziert. Und die Beziehung zu sei­nem puber­tä­ren Sohn wird durch den neu­en Job auch nicht einfacher.
Schweden/D 2016, 80 min, schwed. OmU, Regie: Måns Månsson

Fantasten Claus führt ein Doppelleben. Am Tag ver­kauft er erfolg­reich Autos in der Kopenhagener Innenstadt, gibt sich als smar­ter Geschäftsmann, in der Nacht wird er zum lei­den­schaft­li­chen Spieler am Poker- oder Roulette-Tisch. Als Claus in erheb­li­che Spielschulden gerät, hat sein 19-jäh­ri­ger Sohn Silas plötz­lich eine Gruppe kri­mi­nel­ler gewalt­tä­ti­ger Männer am Hals. Claus muß sein eige­nes Leben aufs Spiel zu set­zen, um sei­nen Sohn zu retten.
Dänemark 2017, 97 min., dän. OmU Regie: Christian Dyekjær

Viraali / Virality Das gro­ße Spiel mit dem Bitcoin-Hype bringt vier Charaktere im moder­nen Helsinki auf unter­schied­lichs­te Weise zusam­men. Ein Polizist mit gro­ßem Interesse an einer auf­stre­ben­den Cellistin, ein intel­li­gen­ter Hacker, ein jun­ger erfolgs­süch­ti­ger Rapper und ein geschie­de­ner Bankkaufmann wer­den dabei Teil einer span­nungs­ge­la­de­nen Kriminalgeschichte.
Finnland 2017, 110 Min., finn. OmU, Regie: Thomas Laine

Hoggeren / The Tree Feller Den 39-jäh­ri­gen Anders zieht es weg vom gewöhn­li­chen Großstadtleben – zurück auf Land, zurück zur Farm sei­ner ver­stor­be­nen Eltern. Sein ein­zi­ger Wunsch ist es, allein im Wald zu sein und sich beim ziel­lo­sen Baumfällen in der kör­per­li­chen Arbeit zu ver­lie­ren. Die Ruhe wird jedoch wie­der und wie­der durch sei­ne auf­dring­li­chen Verwandten gestört, mit ste­tig wich­ti­gen Hinweisen, was er und wie er Dinge zu tun hat.
Norwegen 2017, 82 min, norw. OmU, Regie: Jorunn Myklebust Syversen#

Blóðberg / Homecoming Gunnar, erfolg­rei­cher, den­noch frus­trier­ter Autor von Selbsthilfe-Büchern, hat eine ver­heim­lich­te Tochter aus einer frü­he­ren Affäre, die nun mit sei­nem Sohn David liiert ist. Während Gunnar ver­sucht, die jun­ge Beziehung zu sabo­tie­ren, wächst ein Lügenberg.
Island 2015, 100 min, isl. OmU, Regie: Björn Hlynur Haraldsson

Keep Frozen Der Job als Hafenarbeiter an den Kais von Reykjavik ist nur etwas für ech­te Kerle. In 16-Stunden-Schichten ent­la­den sie den tief­ge­kühl­ten Fang der rie­si­gen Hochseetrawler. Bei 30 Grad minus, tief im Bauch des Schiffes wuch­ten sie sto­isch 25 Kilo schwe­re Kartons umher, damit der Kran sie her­aus­hie­ven kann.
Island 2016, 68 Min., islän­di­sche OmU, Regie: Hulda Ros Gudnadottir
Am Montag, 11.6. mit anschlie­ßen­dem Filmgespräch mit Hulda Ros Gudnadottir.

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Sorry, this ent­ry is only available in Deutsch.

Ein Film von Arash und Arman T. Riahi.

Ein diver­ses Porträt von Kindheit, erzählt als klas­si­sche Held*innenreise.
Die fas­zi­nie­ren­de wie berüh­ren­de spiel­film­na­he Doku erzählt, wie Kindern und Jugendlichen aus pre­kä­ren Verhältnissen mit Musik gehol­fen wird, ihr Leben in den Griff zu krie­gen. Die Brüder Arash und Arman T. Riahi haben eini­ge von ihnen ein Jahr lang beim Musizieren beglei­tet. Als erfah­re­ne Regisseure hal­ten sich dabei stets im Hintergrund und las­sen lie­ber den klei­nen Stars den Vortritt – bei Proben, in Familienszenen oder wenn sie vor der Kamera unbe­fan­gen und selbst­re­flek­tie­rend von ihren Ängsten und Träumen erzählen.

Ö 2017, 95 Min., Buch und Regie: Arash und Arman T. Riahi, Kamera Mario Minichmayr, Riahi Brothers, Schnitt: David Arno Schwaiger

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A film by Stanislaw Mucha. In rus­si­an and ger­man with ger­man subtitles.

“Goulash?,” the young woman loo­king out of the hatch of a com­bi­ned hot dog and piz­za stand on the side of the win­dy Kolyma rou­te asks again. No, Stanislaw Mucha did ask for “Gulag”. And he is asto­nis­hed to find that here, whe­re the Soviet penal and labour camp sys­tem shaped the natu­ral and living envi­ron­ment for deca­des, the term isn’t com­mon­ly used. Actually, for all intents and pur­po­ses, the filmmaker’s jour­ney seems to be more of a trip through word­scapes. It beg­ins in Magadan Bay, which ear­ned its nick­na­me “gate to hell” as the port of ent­ry for the forced labou­rers. It con­ti­nues along the “lon­gest gra­vey­ard in the world”, as the long distance road from the Sea of Okhotsk to Yakutsk is occa­sio­nal­ly cal­led. But it also cros­ses the paths of the living, tho­se who stay­ed here or were born here, who more often than not have bet­ter things to do than to revol­ve around that geni­us loci. Encounters as inspi­ring elec­tric dischar­ges on the hori­zon of expec­ta­ti­ons – like tho­se elec­tric pul­ses an ama­teur phy­si­ci­an picked up along the way wants to use to reju­ve­na­te his old father.

When the pre­sent over­wri­tes the past, when the Putin era super­im­po­ses the Soviet era, when the eter­nal peri­phery is allo­wed to actively par­ti­ci­pa­te in the snapshots made of it, the result are bone dry punch lines: for exam­p­le that slow moti­on pop music video Mucha tre­ats a girls’ dancing trou­pe to as he dri­ves by.

Sylvia Görke | DOK Leipzig

Credits:
Deutschland 2017, 85 Min., rus­sisch, deut­sche OmU
Buch, Regie: Stanislaw Mucha
Kamera: Enno Endlicher
Schnitt: Stanislaw Mucha, Emil Rosenberger 

Termine:

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A film by Chloé Zhao. Inn eng­lish with ger­man subtitles.

„A hor­se’s pur­po­se is to run in the prai­ries; a cow­boy­’s is to ride.” So, what does a cow­boy beco­me when he can no lon­ger ride? This is the ques­ti­on at the cent­re of Chloé Zhao’s The Rider, and the defi­ning con­flict for its prot­ago­nist, Brady Blackburn. A skil­led rodeo cow­boy and hor­se trai­ner, Brady suf­fers a near-fatal acci­dent that abrupt­ly halts his care­er and forces him to con­tem­p­la­te what a new life could look like.

The abili­ty to ride defi­nes a man’s worth in Brady’s world. Though riding and hor­ses are never far from his thoughts, Brady now spends his days working at the local super­mar­ket and his nights drin­king with his bud­dies. With his mother gone and with a bor­der­line alco­ho­lic father with a gambling pro­blem, Brady finds hims­elf respon­si­ble­for his 15-year-old sis­ter, Lilly. With his limi­t­ed edu­ca­ti­on, money and local fame may seem easie­st to come by in the world of rodeo, but so are inju­ry and even death.

Returning to the docu­dra­ma tech­ni­que that ear­ned her debut fea­ture, Songs My Brothers Taught Me, cri­ti­cal accla­im, Zhao inte­gra­tes the real lives of her actors into her sto­rytel­ling. Majestically cap­tu­red by Joshua James Richards‘ inti­ma­te pho­to­gra­phy, the dus­ty, expan­si­ve land­scapes pro­vi­de the can­vas for Zhao’s art. Stoic and fearless with a rare sen­se of authen­ti­ci­ty, she embraces the huma­ni­ty of its cha­rac­ters and explo­res defi­ni­ti­ons of mas­cu­li­ni­ty wit­hout glo­ri­fi­ca­ti­on or judgment. The Rider is less a wes­tern than a film about the real American west.
KERRI CRADDOCK | TIFF

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Credits:
USA 2017, 104 Min., engl. OmU
Regie: Chloé Zhao
Kamera: Joshua James Richards
Schnitt: Alex O’Flinn
Darsteller: Brady Jandreau, Tim Jandreau, Lily Jandreau, Lane Scott
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A film by Raymond Depardon.  In french with ger­man subtitles.

Every year in France, 92,000 peo­p­le are pla­ced under psych­ia­tric care wit­hout their con­sent. By law, the hos­pi­tal has 12 days to bring each pati­ent befo­re a judge. Based on medi­cal records and a doctor’s recom­men­da­ti­ons, a cru­cial decis­i­on has to be made – will the pati­ent stay or lea­ve? Granted access to the­se hea­rings for the first time, Raymond Depardon cap­tures the­se extra­or­di­na­ry encoun­ters bet­ween jus­ti­ce and psych­ia­try. “We film­ed 72 hea­rings and our enga­ge­ment was streng­the­ned by cont­act with trou­bled pati­ents who mana­ged to bear wit­ness with gre­at digni­ty and sen­si­ti­vi­ty. Above all the­se are peo­p­le who are suf­fe­ring; their words are valuable, nor mere­ly dis­tur­bed or ins­a­ne, but clear and stron­gand con­cer­ned with their future lives. 12 DAYS pres­ents ten of the­se pati­ents.” (Raymond Depardon)
70. Internationale Filmfestspiele von Cannes – Séances Spéciales

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Credits:
OT: 12 jours
F 2017, 87 Min., frz. OmU
Regie: Raymond Depardon
Kamera: Raymond Depardon
Schnitt: Simon Jacquet
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A film by Dominik Cooke. In eng­lish with ger­man subtitles.

In the ear­ly 1960s, a young cou­ple on their honey­moon strugg­le to phy­si­cal­ly con­nect in this sen­si­ti­ve adapt­a­ti­on of Ian McEwan’s acclai­med short novel.
As Florence (Saoirse Ronan, Brooklyn) and Edward (Billy Howle, Dunkirk) sett­le down for their first din­ner as a mar­ried cou­ple, a ner­vous ener­gy fills the air. But while it might appear the fled­gling hus­band and wife are suf­fe­ring from wed­ding night jit­ters, it beco­mes appa­rent that some­thing else is crea­ting the divi­de as the ine­vi­ta­bi­li­ty of phy­si­cal inti­ma­cy looms ever closer.
Gorgeously len­sed by Sean Bobbitt (12 Years a Slave) and impec­ca­bly adapt­ed for the screen by McEwan hims­elf, Dominic Cooke’s quiet­ly heart­brea­king debut is a work of subt­le res­traint, cap­tu­ring the intri­ca­ci­es of the source mate­ri­al with grace and delicacy.
Ronan shi­nes as the hesi­tant young bri­de, ably sup­port­ed by rising star Howle, both of whom express so much, even when their cha­rac­ters strugg­le to find the words. For a film in which many emo­ti­ons remain uns­po­ken, this melan­cho­lic love sto­ry speaks pro­found­ly about the fra­gi­li­ty of human rela­ti­onships and the des­truc­ti­ve natu­re of silence.

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Credits:
On Chesil Beach
England 2017, 110 Min., engl. OmU
Regie: Dominic Cooke
Kamera: Sean Bobitt
Schnitt: Nick Fenton
Darsteller: Saoirse Ronan, Billy Howle, Anne Marie-Duff, Adrian Scarborough, Emily Watson, Samuel West
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A film by Laura Bispuri. In ita­li­an with ger­man subtitles.

Ten-year-old Vittoria is gro­wing up in a Sardinian vil­la­ge untouch­ed by tou­rism. One day at a rodeo she meets the impe­tuous Angelica, who is com­ple­te­ly dif­fe­rent to her own caring mother Tina. Vittoria does not suspect that the two women are con­nec­ted by a secret. Tina has been visi­ting Angelica for a long time on the run-down farm whe­re Angelica lives a hap­py-go-lucky life with some old hor­ses and a faithful dog. Tina is not at all hap­py about Angelica and her daugh­ter Vittoria get­ting to know each other. In debt, Angelica deci­des to move to the main­land. Relieved, Tina offers her finan­cial sup­port, but she can­not pre­vent fur­ther encoun­ters bet­ween the two. Captivated by this fearless, inde­pen­dent woman, Vittoria beg­ins redis­co­ve­ring the island with her.
As in her direc­ting debut, Vergine giura­ta, Laura Bispuri once again fol­lows her prot­ago­nist as she encoun­ters, imi­ta­tes and ques­ti­ons seve­ral role models until she gra­du­al­ly dis­co­vers who she is. The warm light of a Sardinian sum­mer accom­pa­nies Vittoria on her tur­bu­lent journey.
Berlinale 2018: Compwetition
 

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A Film by Agnes Varda and JR.  In french with ger­man subtitles.

Agnes Varda and JR have things in com­mon: their pas­si­on for images in gene­ral and more par­ti­cu­lar­ly ques­ti­on­ning the places whe­re they are show­ed, how they are shared, exposed.
Agnès cho­se cinema.
JR cho­se to crea­te open-air pho­to­gra­phic galleries.
When Agnès and JR met in 2015, they imme­dia­te­ly wan­ted to work tog­e­ther, shoot a film in France, far from the cities.
Random encoun­ters or pre­pared pro­jects, they will go towards the others and get them to fol­low them on their trip with JR’s pho­to­gra­phic truck.
The film is also about their fri­end­ship that grows during the shoo­ting, bet­ween sur­pri­ses and mali­ce, laug­hing of their differences.

Termine:

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A film by Hans Block & Moritz Riesewieck. 

Dive into a secret, third-world shadow indus­try of online con­tent mode­ra­ti­on. Here we meet five “digi­tal sca­ven­gers,” a handful of thou­sands of peo­p­le out­sour­ced from Silicon Valley who­se job is to dele­te “inap­pro­pria­te” con­tent off of the inter­net. In a par­al­lel strugg­le, we meet peo­p­le around the glo­be who­se lives are dra­ma­ti­cal­ly affec­ted by online cen­sor­ship. A typi­cal “clea­ner” must obser­ve and rate thou­sands of inten­se images every day, from war zone pho­to­gra­phy to por­no­gra­phy, lea­ding to las­ting psy­cho­lo­gi­cal impacts. Yet under­neath their work lies pro­found ques­ti­ons around what makes an image art or pro­pa­gan­da and what defi­nes journalism.

The Cleaners reve­als the bit­ter rea­li­ty that social media is as much a tool for expres­si­on as it is a plat­form for radi­cal­i­zed social and poli­ti­cal opi­ni­ons, the impacts of which are still unknown. Debut direc­tors Hans Block and Moritz Riesewieck unpack an urgent con­ver­sa­ti­on sur­roun­ding Silicon Valley’s con­trol over our per­cep­ti­on of free speech that we must all grapp­le with as it threa­tens to unra­vel the fabric of our socie­ty: both online and IRL.

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