Author Archives: fsk

Alfilm – 9. Arabisches Filmfestival Berlin

The 9th edi­ti­on of ALFILM takes place from April 11th – 18th, 2018 pre­sen­ting cur­rent cine­ma from the Arab World in its Official Selection. Funded by the Berlin Cultural Senate, our spe­cial pro­gram “Ecce Homo – Perspectives on Arab Masculinities” will pre­sent fic­tion and docu­men­ta­ry films about the topic. Artists talks and a side pro­gram will com­ple­ment the pro­gram. www.alfilm.de

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Early Man

A film by Nick Park.

An aste­ro­id col­l­i­des with the pre­his­to­ric Earth, caus­ing the extinc­tion of the planet’s dino­saurs, but spa­ring a tri­be of cave­men living in a val­ley. Finding a rough­ly sphe­ri­cal chunk of the aste­ro­id that is too hot to touch, the cave­men begin to kick it around and invent a sports games named football.

Many years later during the Stone Age, a young cave­man named Dug (Eddie Redmayne) lives in the val­ley with his chief Bobnar (Timothy Spall), and many other cave­men such as Asbo, (Johnny Vegas), Gravelle (Gina Yashere), Treebor (Richard Ayoade), Magma (Selina Griffiths), Barry (Mark Williams), Grubup (Richard Webber), Thongo and Eemak (Simon Greenall). One day, Dug sug­gests to Bobnar that they should try hun­ting wool­ly mam­mo­ths ins­tead of rab­bits, but he brushes him off.

A Bronze Age army of War Elephants led by Lord Nooth (Tom Hiddleston) dri­ves the tri­be out of the val­ley and into the sur­roun­ding vol­ca­nic bad­lands, pro­clai­ming that the Stone Age has ended. Dug tri­es to attack the army, but falls into a cart and is unkno­wing­ly taken to Nooth’s city. While try­ing to eva­de the guards and escape, he is mista­ken for a foot­ball play­er and led onto the pitch befo­re a full sta­di­um crowd. He chal­lenges Nooth’s eli­te local team to a match with the val­ley at sta­ke and pro­mi­ses that the tri­be will work in Nooth’s mines fore­ver if they lose. Nooth dis­mis­ses the pro­po­sal at first, but chan­ges his mind once he rea­li­zes that he can pro­fit off the match.

Dug dis­co­vers that alt­hough his ances­tors inven­ted foot­ball, the other mem­bers of his tri­be are too dim to under­stand it. After their only ball is des­troy­ed, Dug and his pet boar Hognob (Nick Park) sneak into the city to ste­al more but are found by a local resi­dent of Bronze city named Goona (Maisie Williams). Resentful over the team’s exclu­si­on of women, she helps them ste­al some balls and agrees to help him and the tri­be win the game.

Goona points out that the play­ers on Nooth’s team are talen­ted but too ego­tis­ti­cal to work tog­e­ther effec­tively. The cave­men impro­ve in skill and team­work under her coa­ching. Nooth recei­ves a Message Bird (Rob Brydon) from Queen Oofeefa, war­ning him to not unde­re­sti­ma­te Dug’s team. To demo­ra­li­se Dug, Nooth has him brought to the mines and shows him cave pain­tings made by his tribe’s ances­tors, who pro­ved so ine­pt at foot­ball that they never won a match and even­tual­ly gave up the sport.

On the day of the match with Oofeefa (Miriam Margolyes) in atten­dance, Dug announ­ces his for­feit­u­re as part of a deal to spa­re the rest of the tri­be and agrees to take their place in the mines. However, his reinvi­go­ra­ted team­ma­tes per­sua­de him to break the deal and play the match. They are down 3–1 at half-time, but ral­ly in the second half to tie the score. Nooth inca­pa­ci­ta­tes the refe­ree and takes his place, making bia­sed calls in favour of the local team that leads to Bobnar being kno­cked out.

Hognob takes his place and blocks a penal­ty kick, and Dug scores to win the match for the cave­men, 4–3. The cave­men win their val­ley back with the respect of Oofeefa, the local team, and the crowd. Nooth tri­es to escape with the inten­ti­ons to ste­al all their money, but Goona stops him with help from a giant duck, they arrest him for his theft and ever­yo­ne gets their money back.

Goona joins Dug’s tri­be for a hunt, but they are cha­sed away by a rab­bit pre­ten­ding to be a wool­ly mammoth.

USA/GB/F 2018, 89 Min., engl. OmU & dt. Fassung, Regie: Nick Park, Kamera: Dave Alex Riddett, Schnitt: Sim Evan Jones, mit den Stimmen von engl. OV: Eddie Redmayne (Dug), Tom Hiddleston ( Lord Nooth), Maisie Williams (Goona), Timothy Spall (Chief Bobnar)
dt. Fassung: Friedrich Mücke (Dug), Kaya Yanar (Lord Nooth, Dino), Palina Rojinski (Goona)

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Pio

A film by Jonas Carpignano. In ita­li­an with ger­man subtitles.

One of the memo­rable cha­rac­ters lifted from rea­li­ty in Jonas Carpignano’s huma­ni­stic and time­ly plun­ge into the European refu­gee cri­sis, Mediterranea, was Pio Amato, a craf­ty pre­teen ope­ra­tor from a Romani fami­ly on the edges of a Calabrian town cal­led Gioia Tauro. Already the sub­ject of an iden­ti­cal­ly titled short film, this magne­tic Dickensian hust­ler now gets a rich­ly con­tex­tua­li­zed fea­ture por­trait in 
Pio – A Ciambra, a coming-of-age dra­ma with a ste­alt­hy emo­tio­nal char­ge that fur­ther enhan­ces the writer-director’s repu­ta­ti­on as a gifted prac­ti­tio­ner of Italian neo-neo­rea­lism. Executive pro­du­cer Martin Scorsese’s name should help the film secu­re dis­tri­bu­ti­on. Pio was 14 when the film was made, on the pre­cipi­ce of pre­ma­tu­re adult­hood. (…) Tim Curtin’s hand­held came­ra­work is high­ly effec­ti­ve when it moves in clo­se on Pio, sear­ching his face for access to ever­y­thing his alert young mind is pro­ces­sing. Invaluable tex­tu­re is pro­vi­ded also by Dan Romer’s score, which is bold and dyna­mic but used with judi­cious eco­no­my. (…) Carpignano is buil­ding an impres­si­ve­ly cohe­si­ve gal­lery of out­si­der por­traits.” (David Rooney, The Hollywood Reporter)

Credits:
A Ciambra

Deutschland, Frankreich, Italien, USA 2017, 120 Min., ital. OmU
Regie: Jonas Carpignano 
Buch: Jonas Carpignano 
Kamera: Tim Curtin 
Schnitt: Affonso Gonçalves 
mit:
Pio Amato, Koudous Seihon, Damiano Amato

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Rhinland, Fontane

A film by Sallmann. On April 14th and 15th at the fsk. In german.

Bernhard Sallmann is working on a film pro­ject in seve­ral parts dedi­ca­ted to Theodor Fontane and his “Ramblings through Brandenburg”. “Rhinland. Fontane” is the second part and fol­lows “Oderland. Fontane”. The filmmaker’s inte­rest is his­to­ric on the one hand, which emer­ges in the pre­cise reci­tal of pas­sa­ges from Fontane’s book “Die Grafschaft Ruppin” (Ruppin County): peat cut­ters’ working con­di­ti­ons, Prussian mili­ta­rism, capi­ta­list spe­cu­la­tors, the author’s self-reflec­tions or the dra­stic expe­ri­ence of the Thirty Years’ War. On the other hand, Sallman’s con­cept of a strict regis­try of places and land­scapes in long, sta­tic shots with loca­ti­on sound is indeb­ted only to the pre­sent day: long distance roads cris­scross a mars­hy land­scape; secluded lakes open up in the beech forest.
 


 
D.2017, 67 Min., 
Regie, Buch & Kamera: Bernhard Sallmann
Schnitt: Christoph Krüger
 

 

Farewell Halong

A film by Đức Ngô Ngọc. In viet­na­me­se with ger­man subtitles.

The 46-year old Nguyen Van Cuong is living with his fami­ly on a self-made cabin on a raft off­shore Ha Long Bay in Northern Vietnam. For him life on the water is pret­ty nor­mal – sin­ce gene­ra­ti­ons his fami­ly sleeps, cooks and works here. But the idyll is decep­ti­ve. The govern­ment is plan­ning to relo­ca­te the swim­ming vil­la­ge ashore. Cuong is unde­ci­ded. He is hea­ding towards an uncer­tain future – ashore or offshore.

Credits:
D 2016, 98 Min., viet­nam. OmU

Regie, Buch: Đức Ngô Ngọc
Kamera: Phạm Ngọc Lân
Montage: Gudrun Steinbrück, Tiến Đạt Nguyễ

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Isle of Dogs

A film by Wes Anderson. In eng­lish with ger­man sub­tit­les (and some japa­ne­se that no dog can understand).

Isle of Dogs tells the sto­ry of Atari Kobayashi, 12-year-old ward to cor­rupt Mayor Kobayashi. When, by Executive Decree, all the cani­ne pets of Megasaki City are exi­led to a vast gar­ba­ge-dump cal­led Trash Island, Atari sets off alo­ne in a minia­tu­re Junior Turbo Prop and flies across the river in search of his body­guard-dog, Spots. There, with the assis­tance of a pack of new­ly-found mon­grel fri­ends, he beg­ins an epic jour­ney that will deci­de the fate and future of the enti­re prefecture.
After Fantastic Mr. Fox, this new work marks Wes Anderson’s second ani­ma­ti­on film. Once again, the direc­tor has crea­ted a meti­cu­lous­ly detail­ed uni­ver­se that func­tions accor­ding to its own uni­que rea­li­ties and laws. But even when wicked vil­lains appear and bru­t­ally hunt down the four-leg­ged fri­ends, the film remains essen­ti­al­ly a fable. Miraculously, we are able to under­stand the ani­mals, whilst almost ever­y­thing the humans say is trans­la­ted for us. Atari and his quir­ky cani­ne com­pa­n­ions King, Duke, Rex, Boss and Chief con­front us with tho­se most quint­essen­ti­al of ques­ti­ons that con­cern us all, name­ly: ‘Who are we? And who do we want to be?’

Credits
USA 2018, 101 Min., engl. japan. OmU

Regie & Buch: Wes Anderson
Kamera: Tristan Oliver
Animation: Mark Waring
Montage: Andrew Weisblum

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Layla M.

A film by Mijke de Jong.

When Dutch-born Muslim girl Laila (18) feels less and less at home in the Neterlands, she – slow­ly but sure­ly – beco­mes invol­ved with a group of extre­mists and radi­cal­i­zes. She encoun­ters a world that nur­tures her ide­as ini­tal­ly, but final­ly con­fronts her with an impos­si­ble choice.

Nl/B/D 2016, 96 Min., nl., engl., dt. OmU
Regie: Mijke de Jong
Buch: Jan Eilander & Mijke de Jong
Kamera: Danny Elsen
Schnitt: Dorit Linken
Darsteller: Nore El Koussour, Ilias Addab, Hassan Akkouch, Yasemin Cetinkaya, Husam Chadat, Karl Ferlin

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Layla M. trai­ler | BFI London Film Festival 2016

Reşeba – The Dark Wind

A film by Hussein Hassan.

Reşeba – The Dark Wind is the first fea­ture nar­ra­ti­ve deal­ing with the geno­ci­de against the Yazidi peo­p­le living in the Kurdish Shingal regi­on through the so cal­led Islamic State.

The young Yezidi love cou­ple Reko and Pero gets sepa­ra­ted when the Islamic State attacks their vil­la­ge in the Shingal regi­on of Iraqi Kurdistan. The ter­ro­rists mur­der many vil­la­gers and sell the beau­tiful Pero on a slave mar­ket. But Reko sear­ches for his fian­cée and finds her in Syria. They find shel­ter in a refu­gee camp but Pero is deep­ly trau­ma­ti­zed and the future of their love is uncertain.

Irak, Deutschland, Syrien, Katar 2016, 92 Min., OmU
Regie: Hussein Hassan
Drehbuch: Mehmet Aktaş, Hussein Hassan
Darsteller: Rekish Shahbaz, Dimen Zandi, Maryam Boobani, Nalin Kobani, Helket Idris

RESEBATHE DARK WIND Official Trailer

spk Komplex

A film by Gerd Kroske.

The anti-psych­ia­tric Socialist Patients‘ Collective (SPK) was foun­ded in Heidelberg in 1970 and attri­bu­ted indi­vi­du­al suf­fe­ring to society’s capi­ta­list struc­tures. It began as a self-orga­nis­ed expe­ri­ment in group the­ra­py led by doc­tor Wolfgang Huber with psych­ia­tric pati­ents, fea­turing Hegel rea­dings and indi­vi­du­al agi­ta­ti­on, befo­re sub­se­quent­ly radi­cal­i­sing, which ended in cri­mi­nal pro­cee­dings against its mem­bers, some of whom went under­ground with the Red Army Faction. This film exami­nes a litt­le known chap­ter in West German histo­ry in impres­si­ve, unpre­ten­tious fashion. A pre­cise pic­tu­re of the social cli­ma­te lea­ding up to the German Autumn emer­ges from pains­ta­kin­gly rese­ar­ched docu­ments, such as records from the inte­ri­or minis­try and the uni­ver­si­ty, press pho­tos and TV reports, trips to Stammheim pri­son and to Italy, as well as from con­ver­sa­ti­ons with for­mer SPK – some­ti­mes RAF – mem­bers, lawy­ers and sta­te poli­ce. The skil­led inter­view tech­ni­ques pro­du­ce genui­ne encoun­ters with tho­se in front of the came­ra, as they look back on their lives and the SPK and dig out old papers, the ques­ti­on of their resis­tance han­ging in the air – all dif­fe­rent lay­ers of Kroske’s historiography.


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Credits:
Deutschland 2018, 111 Min., dt., ital. OmU
Regie: Gerd Kroske
Kamera: Susanne Schüle, Anne Misselwitz
Schnitt:Olaf Voigtländer, Stephan Krumbiegel

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Was uns bindet

A film by Ivette Löcker. In German.

Just as I thought that I could final­ly put my fee­lings for my par­ents and my ori­g­ins to rest, my father deci­ded to lea­ve me his crumbling farm­house. This stone inhe­ri­tance is sup­po­sed to tie me again to the place whe­re I grew up. It is sup­po­sed to bring me clo­ser to my par­ents again. I have trou­ble breathing as I rea­li­se that my jour­ney to under­stand my fami­ly has only just started.

Credits:
Österreich 2017,  102 Min.
Regie und Buch: Ivette Löcker
Kamera: Frank Amann
Schnitt: Michael Palm

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