Author: fsk

A film by Mariano Llinás.  In seve­ral lan­guages with German subtitles.

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A film that pays tri­bu­te to the histo­ry of cine­ma, via six epi­so­des inspi­red by the dif­fe­rent forms of cine­ma­tic art. Each epi­so­de has a gen­re. The first epi­so­de could be regard­ed as a B movie, the kind that Americans used to shoot with their eyes clo­sed and now just can’t shoot any­mo­re. The second epi­so­de is a sort of musi­cal with a touch of mys­tery. The third epi­so­de is a spy movie. The fourth epi­so­de is dif­fi­cult to descri­be. The fifth one is inspi­red by an old French film. The last one is about some cap­ti­ve women in the 19th cen­tu­ry who return from the desert, from the Indians, after many years.

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AR 2018,  808 Min.,  (Akt 1: 167 Min., Akt 2: 59 Min., Akt 3: 106 Min., Akt 4: 112 Min., Akt 5: 126 Min., Akt 6: 99 Min., Akt 7: 117 Min., Akt 8: 107 Min.), Spanisch/Französisch/Englisch/Russisch/Deutsch/Schwedisch/Italienische OmU,
Regie: Mariano Llinás
Kamera: Agustín Mendilaharzu
Schnitt: Alejo Moguillansky, Agustín Rolandelli

mit Elisa Carricajo, Pilar Gamboa, Valeria Correa, Laura Paredes

Termine:

• noch kei­ne oder kei­ne mehr 

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A film by Carlos Reygadas. In Spanish with German subtitles.

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“Our Time gores mas­cu­li­ni­ty on its own horns. Carlos Reygadas lays bare mas­cu­li­ne patho­lo­gy with a typi­cal­ly bra­vu­ra and extra­or­di­na­ri­ly unspa­ring dis­sec­tion of love and mar­ria­ge, cas­ting hims­elf and his spou­se, Natalia López, at the heart of the pie­ce. Reygadas con­ducts exis­ten­ti­al inves­ti­ga­ti­ons into the human capa­ci­ty for altru­ism, the cor­re­la­ti­on bet­ween love and pos­ses­si­on, and the uni­ver­sal­ly devas­ta­ting rami­fi­ca­ti­ons of patri­ar­chal cul­tu­re. It makes for a relent­less, har­ro­wing vie­w­ing expe­ri­ence but also, ulti­m­ate­ly, a cathar­tic one. As such, Reygadas and López’s wil­ling­ness to lay them­sel­ves bare in this man­ner, wit­hout embel­lish­ment or faci­le abso­lu­ti­on, repres­ents a deep­ly gene­rous ges­tu­re.” (Giovanni Marchini Camia, Sight and Sound)

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Nuestro tiem­po
MX/FR/DE/DK/SE 2018, 175 Min., spa­ni­sche OmU
Regie, Buch: Carlos Reygadas
Kamera: Diego Garcia
Schnitt: Natalia López
mit: Carlos Reygadas, Natalia López, Phil Burgers, Yago Martinez, Eleazar Reygadas, Rut Reygadas

Termine:

• noch kei­ne oder kei­ne mehr 

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A film by Vahid Jalilvand,  In Farsi with German subtitles.

[Credits] [Termine] [Trailer]

In the tried and tes­ted tra­di­ti­on of Iranian art­house cine­ma (think of the work of Abbas Kiarostami and Asghar Farhadi), direc­tor and co-wri­ter Vahid Jalilvand gra­du­al­ly con­fronts the view­er with a moral dilem­ma. It’s undoub­ted­ly about the con­trast bet­ween good and evil, but that doesn’t make it imme­dia­te­ly clear what the best cour­se of action is.
A usual­ly strict coro­ner finds the body of an acquain­tance in the mor­tua­ry. His col­le­ague has alre­a­dy deter­mi­ned the cau­se of death, but he has ano­ther pos­si­ble expl­ana­ti­on. However, to reve­al the truth would mean beco­ming per­so­nal­ly invol­ved in the case. Moreover, it could have unjust con­se­quen­ces for tho­se involved.
Jalilvand uses a blea­ched colour palet­te, lea­ves ple­nty of room for his natu­ra­li­sti­cal­ly acting prot­ago­nists and builds the ten­si­on gra­du­al­ly with more and more new com­pli­ca­ti­ons. Best Film and Best Actor (Amir Aghaee) pri­ze­win­ner in the Orizzonti pro­gram­me at the Venice Film Festival.

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Bedoone tarikh, bedoo­ne emza 
IR 2017, 100 Min., Farsi OmU 
Regie: Vahid Jalilvand 
Kamera: Peyman Shadmanfar 
Schnitt: Vahid Jalilvand, Sepehr Vakili 
mit: Navid Mohammadzadeh, Amir Agha’ee, Hediyeh Tehrani, Zakiyeh Behbahani

Termine:

• noch kei­ne oder kei­ne mehr 

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Im Kino in Farsi mit deut­schen Untertitlen.

 

A film by Cyril Schäublin. In SwissGerman with German subtitles.

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Alice works in a call­cen­ter in the out­skirts of Zurich, sel­ling inter­net sub­scrip­ti­ons and insu­rance deals to stran­gers on the other end of the line. After work she walks through the city, which seems to func­tion wit­hout any fric­tion. Inspired by her job, she calls lonely grand­mo­thers and pre­tends to be their grand­d­augh­ter in urgent need of money. As she quick­ly makes a for­tu­ne with this trick, the film por­trays and explo­res various places and peo­p­le in the city of Zurich, all stran­ge­ly con­nec­ted to Alice’s deed.

 

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CH 2018, 71 Min., OmU,
Regie & Buch: Cyril Schäublin
Kamera: Silvan Hillmann
Schnitt: Cyril Schäublin, Silvan Hillmann
mit: Sarah Stauffer, Nikolai Bosshardt, Fidel Morf

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• noch kei­ne oder kei­ne mehr 

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A film by Nikolaus Geyrhalter.
In English, German, Spanish, Italian, Hungarian with German subtitles

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A por­trait of the Earth in the Anthropocene – at seven loca­ti­ons that humans have trans­for­med on a grand sca­le: Entire moun­ta­ins being moved in California, a tun­nel being sli­ced through rock at the Brenner Pass, an open-cast mine in Hungary, a marb­le quar­ry in Italy, a cop­per mine in Spain, the salt mine used to store radio­ac­ti­ve was­te in Wolfenbüttel and a tar sands land­scape in Canada. Initially shown from abo­ve as abs­tract pain­tings, the­se ter­rains are sub­se­quent­ly explo­red on the ground: The film wea­ves tog­e­ther obser­va­tio­nal foo­ta­ge of machi­nes in ope­ra­ti­on with con­ver­sa­ti­ons with the workers. Alongside state­ments on work pro­ces­ses, envi­ron­men­tal dama­ge and tech­no­lo­gi­cal chan­ge, Erde makes this con­s­truc­ted world visi­ble in uni­que fashion by subt­ly paring it down: the piles of grey mat­ter, hills and moun­ta­ins. The black­ness and the cracks. The san­dy land­scapes, criss-crossed by an array of mecha­ni­cal devices that scuttle about like cater­pil­lars or worms. The dimen­si­ons are gigan­tic, the pro­por­ti­ons out of con­trol; the world has slip­ped from humanity’s grasp. “There is always a big­ger machi­ne, a big­ger engi­ne and when all fails the­re is dyna­mi­te. We always win.” Or do we?

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AU 2019, 114 Min., 
Regie, Buch, Kamera: Nikolaus Geyrhalter
Schnitt: Niki Mossböc 

Termine:

• noch kei­ne oder kei­ne mehr 

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