A film by Christian Petzold.

The German tro­ops are just out­side Paris. Georg escapes to Marseille at the last moment. His lug­ga­ge con­ta­ins the lega­cy of a wri­ter named Weidel, who took his own life out of fear of per­se­cu­ti­on. This lega­cy com­pri­ses a manu­script, some let­ters and the Mexican Embassy’s assu­rance of a visa. Only tho­se who can pro­ve that they will lea­ve are allo­wed in this port town, and this means you need an ent­ry per­mit from a poten­ti­al host coun­try. Assuming the iden­ti­ty of Weidel, Georg tri­es to obtain one of the few scar­ce pas­sa­ges on a ship. Talks bet­ween refu­gees take place in the cor­ri­dors of his small hotel, the wai­ting rooms of con­su­la­tes, and the cafés and bars down at the har­bour. Georg befri­ends Driss, the son of his late com­ra­de Heinz, who died whilst try­ing to flee. But when he meets the mys­te­rious Marie, his plans chan­ge. Transit is based on Anna Seghers’ epony­mous novel which she wro­te in exi­le. The film is set in con­tem­po­ra­ry Marseille whe­re the­se cha­rac­ters from the past move around. And so, refu­gees from back then meet refu­gees from today, histo­ry meets the pre­sent, and all of their sto­ries com­bi­ne to crea­te one eter­nal tran­sit space.

Credits:
Deutschland 2017, 101 Min.
Regie: Christian Petzold
Buch: Christian Petzold, nach dem Roman von Anna Seghers
Kamera: Hans Fromm
Schnitt: Bettina Böhler
mit: Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman, Maryam Zaree, Barbara Auer, Matthias Brandt, Sebastian Hülk, Emilie de Preissac

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A film by Thorsten Trimpop.

FURUSATO 古里 reve­als the unu­su­al rela­ti­onship bet­ween a land­scape and its inha­bi­tants. Over the cour­se of a thousand years, the exu­berant natu­re of Japan’s eas­tern coast has beco­me inter­wo­ven in the lives of its peo­p­le. Here, the earth is sacred – but now, it is tain­ted with the invi­si­ble dan­ger of radia­ti­on. For tho­se who have deci­ded to stay, the rural sce­ne sur­roun­ding the cripp­led Fukushima Daiishi nuclear power plant remains the place they call home – their furu­sa­to, the first place they expe­ri­ence as child­ren and the last one they will see befo­re they die. A monu­men­tal por­trait of a woun­ded com­mu­ni­ty and an unspa­ring look at the human cost of pro­gress, the film illu­mi­na­tes the four years that fol­lo­wed the worst nuclear dis­as­ter of our time. Here, no one mea­su­res in half-lives. This is about eternity.

Credits:
Deutschland, USA 2016, 94 Min., japan. OmU
Regie: Thorsten Trimpop
Kamera: Thorsten Trimpop
Schnitt: Stefan Oliveira-Pita

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A film byn Lars Kollros and Alexandra Zaitseva. 

At 7. and 8. July 2017 the lea­ders of the EU and the 19 most deve­lo­ped and emer­ging eco­no­mies of the world met in the city of Hamburg/Germany. The Senator of the Interior of Hamburg, Andy Grote announ­ced the mee­ting as a “Festival of Democracy”. Over 30.000 poli­ce offi­cers whe­re in the city to pro­tect it. Up to 100.000 peo­p­le came to Hamburg to pro­test against it.
Lars Kollros and Alexandra Zaitseva accom­pa­nied the week of pro­tests with their cameras.

 
D 2017 90 Min.
Regie: Lars Kollros, Alexandra Zaitseva
Kamera: Lars Kollros, AlexandraZaitseva, Alex Uhlig, Esther Lang
 

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A Film by Niklas Schenck and Ronja von Wurmb-Seibel.

Kabul, December 11, 2014. During the pre­mie­re of a theat­re play about sui­ci­de bom­bings a 17 years old boy blows hims­elf up. Some in the audi­ence clap, becau­se at first they think the explo­si­on is part of a very rea­li­stic re-enact­ment. Only when panic spreads do they rea­li­ze what happened.
The docu­men­ta­ry film TRUE WARRIORS tells the sto­ry of the actors and the musi­ci­ans who were on stage that day. With their play, they wan­ted to make a point against the ter­ror and vio­lence that eats up their coun­try. Now they are para­ly­zed by fear. Ever get­ting on a stage again? Unimaginable! Becoming a famous musi­ci­an? Way too dangerous!
Only when vio­lence hits a second time, some of the artists deci­de to take a dif­fe­rent approach.They beco­me ever more radi­cal as artists. Not only do they go back on stage – they also play the most dar­ing pie­ce they ima­gi­nable, on the streets of Kabul, unprotected.
TRUE WARRIORS reminds us that if we real­ly want to defeat ter­ro­rism we need to offer more than fear and hat­red. One of the actors said after a scree­ning in Germany: „We need to move from a cul­tu­re of war to a cul­tu­re of peace – and who could lead the way but us artists?”.

 

D 2017„90 Min., Engl., Dari OmU,
R.: Niklas Schenck, Ronja von Wurmb-Seibel

 

A film by Martin Farkas. In german.

Hundreds of Demmin resi­dents kil­led them­sel­ves in 1945 due to their fear of the Russians. The topic could not be dis­cus­sed in the GDR, today it is used as pro­pa­gan­da by fascists.

 

Credits:
Deutschland 2017, 90 min
Regie: Martin Farkas
Drehbuch: Jens Stubenrauch, Petra Felber, Barbara Denz, Martin Farkas
Kamera: Roman Schauerte
Schnitt: Jörg Hauschild, Catrin Vogt
Musik: Mathis Nitschke

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A film by Joachim Trier. In nor­weg­an with ger­man subtitles.

«THELMA is seduc­ti­ve and musi­cal in tone and struc­tu­re, with a more explo­ra­to­ry visu­al lan­guage than Joachim Trier’s ear­lier fea­tures that were more focu­sed on dia­lo­gue and expres­sed a grea­ter self-disci­pli­ne visual­ly. THELMA is more like his shorts, but obvious­ly more tem­pe­ra­te coming from his artis­tic matu­ri­ty, expe­ri­ence and tech­ni­ques. Zeitgeist is repla­ced by tim­e­l­ess­ness, cham­ber music by a sym­pho­ny. The sys­te­ma­ti­cal­ly unpre­dic­ta­ble THELMA is the director’s most com­ple­te, lyri­cal and tran­s­cen­ding film. »
– Dag Sødholdt (Excerpt from Montages.no)

Joachim Trier’s first step into the gen­re film area is about the title cha­rac­ter Thelma, a young woman who moves away from her reli­gious fami­ly on the west coast of Norway to stu­dy in Oslo. Upon mee­ting fel­low stu­dent Anja hid­den fee­lings sur­face in Thelma, and after seve­ral inex­pli­ca­ble sei­zu­res she rea­li­zes that she is pos­s­es­sed by some­thing super­na­tu­ral – that might have ter­ri­fy­ing con­se­quen­ces. THELMA is a poe­tic pie­ce that embraces seve­ral impul­ses, gen­res and moods and is a major step onwards for Joachim Trier as a filmmaker.

 
Credits:
Frankreich/Dänemark/Schweden/Norwegen 2017, 116 Min., nor­weg. OmU
Regie: Joachim Trier
Buch: Joachim Trier, Eskil Vogt
Kamera: Jakob Ihre
Schnitt: Oliver Bugge Coutté
Musik: Ola Fløttum
mit: Eili Harboe, Okay Kaya, Kaya Wilkins, Ellen Dorrit Petersen, Henrik Rafaelsen
 
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A film by Andrei Zvyagintsev. In rus­si­an with ger­man subtitles.

In Moscow, at the end of the school day, stu­dents are depar­ting on their way home. One twel­ve year old boy, Alexey, deci­des to take an indi­rect path home rather than using the regu­lar city streets. Alexey takes a path which leads him to walk by a local river in a woo­ded area just on the out­skirts of town. He appears to be in no par­ti­cu­lar rush to get home. His par­ents, Zhenya and Boris, are in the midst of obtai­ning a divorce, with much ani­mo­si­ty. They are por­tray­ed as having diver­gent and incom­pa­ti­ble per­so­na­li­ties. Both are try­ing to form new lives in new relationships.

One day, it is dis­co­ver­ed that the boy has dis­ap­peared from home, and his mother calls the poli­ce for assis­tance. At first, the poli­ce see this as the simp­le case of a runa­way child and expect the boy to return home within a day or two. However, when Alexey does not return, a vol­un­teer group spe­cia­li­zing in the search for miss­ing per­sons takes over the case and prompt­ly initia­tes a preli­mi­na­ry search for the boy by sen­ding the par­ents to estran­ged rela­ti­ves in the hope of loca­ting him. They are first sent to see if Alexey is at his mother’s par­ents. Alexey is not the­re when they arri­ve, though their trip to visit her mother out of town is punc­tua­ted by ten­si­on bet­ween the estran­ged rela­ti­ves and Boris is ver­bal­ly bera­ted and exco­ria­ted by Zhenya. On the return trip home, her ver­bal abu­se escala­tes to the point that Boris dischar­ges her on the rural road­way befo­re they get back to town.

The fail­ure of the poli­ce to find Alexey prompt­ly escala­tes the search for him into an all out emer­gen­cy miss­ing per­sons search across the town and sur­roun­ding are­as. A search of an aban­do­ned muni­ci­pal buil­ding from an old dila­pi­da­ted city deve­lo­p­ment pro­ject whe­re Alexey was known to have visi­ted turns up not­hing. Finally, the par­ents are asked to come to the mor­gue to exami­ne and try to iden­ti­fy the remains of a John Doe child of still unknown iden­ti­ty. The par­ents both deny that the dis­fi­gu­red dead chil­d’s body is their son, though the expe­ri­ence of being put through the iden­ti­fi­ca­ti­on pro­cess is emo­tio­nal­ly trau­ma­tic to them as they break­down in tears of despe­ra­ti­on, with Alexey still missing.

Later, Alexey’s mother has sold their apart­ment and workers begin dis­mant­ling wall han­gings and appli­ances left behind in the now vacant apart­ment. Outside on the street, miss­ing per­son pos­ters of Alexey now can­vas lar­ge parts of the city try­ing to seek help in loca­ting the miss­ing boy. The sce­ne shifts to the near­by river by the woo­ded path which Alexey used to use to walk home after school and the view focu­ses on an exten­ded land­scape sce­ne loo­king through naked win­ter bran­ches of the sur­roun­ding very tall trees. The tree bran­ches sway slight­ly against the win­ter sky with no sight of Alexey or anyo­ne else among the naked win­ter branches.
 

 
Credits:
Originaltitel: Nelyubov  Frankreich/Russland 2017, 127 Min.,
Regie: Andrei Zvyagintsev
Buch: Oieg Negin
Kamera: Mikhail Krichman
Schnitt: Anna Mass
mit: Maryana Spivak, 
Matvey Novikov,
Aleksey Rozin
 
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A film by Taylor Sheridan. In eng­lish with ger­man subtitles.

A blank spot on the map, rug­ged and relent­less. The win­ters here in Wyoming are espe­ci­al­ly tough, with tem­pe­ra­tures going down to the minus dou­ble digits. When you run out­side in the wil­der­ness, your lungs might burst. That‘s what see­med to have hap­pen­ed to a young woman who is dis­co­ver­ed in the snow by hun­ter and tra­cker Cory Lambert. Her body isn‘t just lying any­whe­re, but on the edge of the Arapaho and Shoshone Native American reser­va­ti­on Wind River and the vic­tim is also Arapaho. That makes the case unim­portant to the sta­te poli­ce. The Native American aut­ho­ri­ties should deal with it. Young FBI agent Jane Banner is sent the­re from her trai­ning site in Las Vegas 800 kilo­me­ters away. It starts out as a for­ma­li­ty, but the more she founds out about the con­di­ti­ons on the reser­va­ti­on, the more she feels it is her duty to sol­ve the case. With the help of Cory who is more invol­ved in the case than she first thinks, she sear­ches for traces to find out what hap­pen­ed that night.

In the Native American reser­va­ti­on count­less young woman die and dis­ap­pear every day and their cases remain unsol­ved. Taylor Sheridan, the pri­ze-win­ning screen­wri­ter of films like SICARIO and HELL OR HIGH WATER, dedi­ca­tes his direc­to­ri­al debut to them. WIND RIVER is a devas­ta­ting stu­dy in loss, a keen­ly obser­ved socio­gram, and a ner­ve-rack­ing thril­ler. The indie film is car­ri­ed by Jeremy Renner‘s sen­si­ti­ve por­tra­y­al of Cory. The powerful images of the relent­less land­scape and the score by Warren Ellis and Nick Cave round out Sheridan‘s film and make it a film that sticks with you long after it‘s over.

Lars Tunçay | indiekino.de, Translation: Elinor Lewy

 

 
Credits:
USA 2017, 107 Min., engl. OmU
Regie: Taylor Sheridan
Drehbuch: Taylor Sheridan
Kamera: Ben Richardson
Schnitt: Gary Roach
Musik: Warren Ellis
mit: Jeremy Renner, Elizabeth Olsen, Gil Birmingham, Jon Bernthal
 
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A film by Paul Thomas Anderson. In eng­lish with ger­man subtitles.

Fashion desi­gner Reynolds Woodcock (Daniel Day-Lewis) is the total packa­ge. He has the same per­fec­tion­ism when he works on his crea­ti­ons, goes to the bath­room, and has his break­fast. Watching Reynolds Woodcack have his break­fast means being wit­ness to a long­stan­ding, fine­ly cali­bra­ted rou­ti­ne that is ful­ly­o­ri­en­ted towards the needs of the sen­si­ti­ve geni­us. Every dis­cordant note, every tri­via­li­ty, could break off his crea­ti­ve flow.

PHANTOM THREAD is set in 1950s England, which is more of an aes­the­tic idea for Paul Thomas Anderson than any­thing else. The direc­tor of PUNCH-DRUNK LOVE and THE MASTER shows a hau­te cou­ture king­dom with opu­lent images which Reynolds is in char­ge of. Everything here is exqui­si­te: the colors, the tex­tures, the mate­ri­als, the tapestry, the dou­ble doors, the lap­sang souchong that is ser­ved at break­fast. The tail­ors who enter the feu­dal House of Woodcock through the ser­vent ent­rance every mor­ning are the loy­al lie­ges, and Reynold‘s sis­ter Cyril (Leslie Manville) is the high com­man­der. The master‘s lovers play a sub­or­di­na­te role and are repla­ced when they start bothe­ring him. This chan­ges when Reynolds meets Alma (Vicky Krieps), a young eas­tern European immi­grant. She beco­mes his model and his lover, and unli­ke her pre­de­ces­sors, she mana­ges to car­ve an indis­pensable place in the master‘s world.

Anderson tells a com­plex, fetis­hi­stic love sto­ry whe­re secret obses­si­ons are woven in like hid­den mes­sa­ges in the hem of a dress. Alma and Reynolds are in a love tri­ang­le from the start – Reynolds crea­ti­ons are the third per­son. Instead of a first sex sce­ne there‘s a fit­ting, a ritua­li­stic mea­su­ring whe­re both know what it means. Being dres­sed and having someone dress you beco­mes an ero­tic act. Alma says“I can stand for hours“ and “I‘m beau­tiful in his dres­ses,“ and Reynolds wat­ches her cat­walk with the eyes of a lover. This idyll does show rup­tures when it beco­mes clear that Alma is her own per­son and she dis­rupts the iron rules of the House of Woodcock. Instead of respec­ting the holy sere­ni­ty of the break­fast ritu­al, she joyful­ly makes noi­se and pours the tea from too high up, which makes a dis­rup­ti­ve sound. When Reynolds runs off insul­ted, she says some blas­phe­mous words to Cyril: “I think he‘s too sensitive!“

THE PHANTOM THREAD is a mul­ti­face­ted, ira­de­s­cent film. A hym­nal-hedo­ni­stic cele­bra­ti­on of color, form, and style. An iro­ni­cal­ly amusing por­trait of nar­cis­si­stic mas­cu­li­n­i­tiy. The con­s­truc­tion and decon­s­truc­tion of a geni­us. But most of all, THE PHANTOM THREAD is a gothic romance, an exu­berant love sto­ry with mor­bid aspects fil­led with psy­cho­lo­gi­cal chasms. These chasms are what make the dis­si­mi­lar cou­ple find a kind of balan­ce. The fan­ta­sy of psy­cho­lo­gi­cal­ly sound model part­ners that always com­mu­ni­ca­te respectful­ly with “I feel“ mes­sa­ges is coun­te­red here with a cou­ple in love who seem to fol­low their own, pos­si­bi­li­ty per­ver­se-see­ming rules and mana­ge to make it work, held tog­e­ther by a thread invi­si­ble to ever­yo­ne else, the PHANTOM THREAD.

Hendrike Bake, Translation: Elinor Lewy

 

 
Credits:
Phantom Thread
USA 2017, 130 Min., engl. OmU
Regie, Buch & Kamera: Paul Thomas Anderson
Schnitt: Dylan Tichenor
mit: Daniel Day-Lewis, Camilla Rutherford, Lesley Manville, Vicky Krieps
 
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