During a day out, little Chihiro and her parents walk through a dark tunnel. On the other side lies the Spirit World, where Chihiro’s parents are turned into pigs. Left entirely to her own devices, the girl tries to reverse the transformation. In a spa for gods, she encounters all manner of strange deities: a stinky god, a boy who can turn himself into a river, the faceless god Noface, and all sorts of other odd characters…
In 2002, Spirited Away celebrated its European premiere at the Berlinale and was awarded the Golden Bear for Best Film of the festival – the only animated film in cinema history to have done so to date. In 2003, it went on to win an Oscar and established itself at the box office as one of the most successful animated films of all time.
To mark its 25th anniversary, Spirited Away will return to cinemas in 2026.
Credits:
Spirited Away JP 2001, 125 mins, Japanese with German subtitles Directed by: Hayao Miyazaki
Trailer:
CHIHIROSREISEINSZAUBERLAND – 25th ANNIVERSARY – Trailer German | Deutsch
Jen lives in Bangkok – between the reception of an apartment block and the hotel rooms of strange men. What she sells is time, intimacy, sometimes just a moment. When a meeting gets out of hand, Wason steps in – a barman who has lost more than he lets on. For a short while, they drift through the sultry nights together. Then Jen is gone. No trace. No goodbye. Pim, her flatmate, begins to search for her. Wason follows her. Her trail leads through empty alleyways, unfamiliar rooms, outstanding debts and memories that slip away. All the way to the Cambodian border – or perhaps just back to where Jen had long since vanished. When Jen vanishes – without a word, without saying goodbye – her flatmate Pim and the quiet barman Wason follow her trail. A quiet search begins, through nights, memories – and a city that misses no one.
“If you show a gun in the first act, it must be fired in the third act” – a dramatic rule by Anton Chekhov, which is about narrative economy, avoiding loose ends and building tension. In his film Funeral Casino Blues, Roderick Warich shows the gun almost right at the start: Wason (Wason Dokkathum) has it tucked into his waistband; he lifts his shirt to free Jen (Jutamat Lamoon) from an intrusive admirer (read: client). The gun will reappear time and again. It is also fired. But this happens off-screen, after fade-to-black sequences, and not necessarily in the third act either, because Warich is far removed from anything resembling a clear division into acts, or indeed any structured, standardised narrative style. And that is what makes his film so utterly fascinating, so absolutely worth watching. You just have to let yourself be drawn in, and then you can lose yourself in hypnotic images in which the camera moves through the room, through Bangkok by night; then you can lose yourself in the characters, whose innermost thoughts we can at best only glimpse; then you can immerse yourself in a story that shifts from a love story to a noir gangster tale, which becomes a ghost film without being a horror film.„ Kinozeit | Harald Mühlbeyer
Credits:
DE 2025, 153 mins · Original Thai version with German subtitles Director: Roderick Warich Cinematography: Roland Stuprich Editing: Hannes Bruun Starring: Jutamat Lamoon · Wason Dokkathum · Jutarat Burinok · Piyapong Saebui · Rinda Hamer · Chayanee Choomnoommanee
Sixteen-year-old Ilay aimlessly drifts through the outskirts of Berlin. His mother, Maria, lies on her deathbed, cared for by Ana, a Mexican palliative nurse. Refusing to accept his mother’s impending death, Ilay retreats further into himself, increasingly shutting himself off from reality. Through slow, contemplative images, the film follows Ilay and Ana in their daily routines, from Ana’s quiet dedication to Maria’s care to her struggles with her own addiction. Ilay works in a logistics centre, does community service and spends his afternoons hanging out with his friends at a lake. At night, he is restless, wandering the city in a sleepless daze like a ghost. During one of his nocturnal outings, he impulsively steals a dog, prompting Ana to take him to a psychologist. There, Ilay reveals his deep-seated belief in the impossibility of death. As his mother’s passing approaches, it becomes less an inevitability and more a matter of mystery and speculation.
Credits:
DE 2026, 87 mins, German with English subtitles, Director: Saša Vajda Cinematography: Tom Otte Editing: Denys Darahan, Saša Vajda Starring: Mohammed Yassin Ben Majdouba, Flor Prieto Catemaxca, Mahira Hakberdieva, Safet Bajraj, Shanthi Philipp, Solomon Guye, Mahir Özel
The last photo Jessie took shows the sun over Berlin. It hangs there as if nothing had happened. But Ella has lost her daughter. All she has left is Jessie’s little sister and the complicated relationship with the boy everyone blames. The odd trio find themselves on a family holiday that never really was. Under the shimmering sun of Tenerife, memory and the present become inextricably intertwined. The ghosts are everywhere.
“In EVERYTIME, we follow a mother who has lost her daughter, the younger sister who has her own unique way of coping, and a boy whom everyone blames. Whilst the sun hangs there as if nothing had happened, we watch them as they try to do the right thing. They cling to a fragile routine, a rehearsed, pragmatic way of coping with everyday life that does little to conceal the impossible, unfulfillable wish underlying it: to somehow return to a time when ‘none of this ever happened’. But our reality isn’t made for that. That’s simply not how the world works. But then – in this film, it does happen after all, and the impossible becomes possible. You turn a corner and step into a scene, and suddenly the world seems to fold in on itself and the sun finally has the decency to stand still. And for a moment, or perhaps even forever, everything seems to be all right again. When you engage with such impossibilities, and truly allow them to happen, truly immerse yourself in them, it seems to me that they reveal something about the nature of human suffering, about our longings and perhaps about our very existence. Things that are otherwise only possible in dreams, we can experience in the cinema. That is what cinema is for.” Sandra Wollner
Credits:
DE/AT 2026, 123 mins, German with English subtitles, Director: Sandra Wollner Cinematography: Gregory Oke Starring: Birgit Minichmayr, Lotte Shirin Keiling, Tristán López, Carla Hüttermann, Naomi Elia Richard
With all the resources and authority of the state behind her, young prosecutor Seyo Kim is determined to confront far-right violence in eastern Germany. But when she, herself, becomes a target – surviving a racist attack on her life – Seyo decides to investigate on her own, defying explicit orders from her superiors and putting her life further at risk. Seyo finally succeeds in bringing one of the attackers to trial and fights to expose him as part of a wider right-wing network. She digs deep into her office’s archives, reopens long-closed “isolated cases” and manoeuvres seemingly harmless witnesses into revealing their ties – not only to the network but also to the attack on her own life. Germany’s public prosecution service is the most objective institution in the world – or so the myth goes. But throughout the trial, Seyo learns firsthand what it means to entrust the pursuit of justice to a state that applies double standards and not only downplays far-right violence, but at times even protects it.
Credits:
DE 2026 113 mins, German, Korean with English subtitles, Director: Faraz Shariat Cinematography: Lotta Kilian Editing: Friederike Hohmuth Starring: Chen Emilie Yan, Julia Jentsch, Alev Irmak, Arnd Klawitter, Sebastian Urzendowsky
A summer of innocence comes to an abrupt end. Thirteen-year-old Daniel is torn from his sheltered country life and thrust into the confines of the city, where he is confronted with the harsh realities of the adult world. Instead of school and friendships, his daily life is dominated by work, social indifference and his first encounters with sexuality. As part of Jean Eustache’s autobiographically influenced body of work, the film distils personal memories into an observant portrayal of coming of age and a youth that vanishes before it has a chance to develop.
Credits:
FR 1974, 123 mins, French with original subtitles Director: Jean Eustache Cinematography: Nestor Almendros, Editing: Françoise Belleville, Alberto Yaccelini, Vincent Cottrell, Jean Eustache starring Martin Loeb, Ingrid Caven, Jacqueline Dufranne, Dionys Mascolo, Henri Martinez, Jean-Noël Picq, Maurice Piala
An aimless flâneur (Jean-Pierre Léaud) spends his days divided between two women, endless conversations in Parisian cafés and a search for his true self. At the heart of the film is a love triangle in the aftermath of the upheavals of 1968, which unfolds with direct candour, navigating the terrain between self-presentation, desire and emotional cruelty. A work that remains challenging to this day, exploring love, language and the impossibility of finding common ground.
Credits:
FR 1973, 215 mins, French with original subtitles Director: Jean Eustache Cinematography: Pierre Lhomme Editing: Jean Eustache, Denise de Casabianca Starring Jean-Pierre Léaud, Françoise Lebrun, Bernadette Lafont, Isabelle Weingarten
Jean Eustache, a trained electrician and self-taught filmmaker, was, as the son of a working-class family, an exceptional figure within the otherwise bourgeois Nouvelle Vague. His life is reflected in his films in an almost autobiographical way. With a precise attention to language, gestures and social realities, Eustache’s cinema operates within the realm of documentary fiction. Thanks to the Re:Visted series from Grand film distributors, we are able to offer two of his classics:
LAMAMANETLAPUTAIN from 1973, in which Jean-Pierre Léaud plays Alexandre, a flâneur caught between two women and endless conversations in Parisian cafés as he searches for his true self. [Tickets]
In the autobiographically inspired 1974 film MESPETITESAMOUREUSES, 13-year-old Daniel is torn from his sheltered country life and thrust into the confines of the city and the harshness of the adult world. [Tickets]
LAROSIÈREDEPESSAC (1968) &LAROSIÈREDEPESSAC 79 (1979) Two documentary films about the election and the festival of the Rose Queen in Pessac, near Bordeaux, which take place annually in April and June. The compilation does not take an explicit stance on the events; its straightforward documentation, in 1968 and eleven years later, highlights the changes that have taken place. Sun., 5.9. [Tickets]
UNESALEHISTOIRE (1977) consists of two films: First came a 16mm film, shot in the style of cinéma vérité, in which a man recounts his voyeuristic experiences in the toilet of a Parisian café, where he discovered a hole in the wall leading to the ladies’ toilet. Eustache later had his text, shot on 35mm, narrated by a professional actor. However, the films are screened in reverse order, with the fiction coming before the documentary – which naturally raises the question of what is real and what is not in the story told by Picq. In this way, Eustache achieved a unique reflection on the relationship between the documentary and the fictional. [Tickets]
NUMÉROZÉRO(1971) – the title refers to a kind of starting point, and indeed, Eustache has, in cinematic terms, started from scratch here: he has his grandmother, Odette Robert, recount her life, interrupted only by brief questions or comments from Eustache to keep the conversation flowing. [Tickets]
DUCÔTÉDEROBINSON (1964) Two young men go out looking for women one Sunday afternoon in Montmartre. The film focuses on everyday occurrences that were not normally depicted in the cinema of that era. & LEPÈRENOËL A LESYEUXBLEUS (1966) To raise the money for a coat, a young man takes a job as a department-store Father Christmas. Once again, Eustache blends observations of everyday life with fiction, thereby painting a melancholic portrait of a provincial town. [Tickets]
Moldova, 1997. Six years after the collapse of the USSR, the initial euphoria has faded, leaving behind a country sinking into a deep and persistent crisis. Amidst this harsh reality, a family struggles to survive. Zina, a set designer at a once-vibrant children’s theatre, has not been paid for months, yet continues to try to keep her family together and put food on the table. Her husband Victor, an artist left behind by history, is sinking into melancholy and is unable to adapt to the new reality. Their daughter Eva, a gifted piano student, is leaving childhood behind as she searches for her place in a world that seems to be falling apart around her. Whilst friends and neighbours quietly abandon the sinking ship in search of a better life abroad, desperation drives Zina to rent out the family home. This decision tears the family apart and plunges them into a perilous journey, caught between survival, fleeting hope and the fragile dream of a life that may never be theirs.
Credits:
Înstrăinare DE/RO/MD 2026, 133 mins, Romanian with German subtitles Director: Ana-Felicia Scutelnicu Cinematography: Javier Palicio Editing: Ecaterina Iaschevici, supported by Dana Bunescu Starring: Marina Palii, Arina Mura, Ion Munteanu, Paulina Zavtonii, Ion Liulica, Marina Weis
A long-term cinematic study that follows Leonie’s coming of age over eight years: Leonie and Marlene are 18 years old, best friends, and convinced that nothing can separate them. But Leonie falls in love with Naomi, devotes herself entirely to her great love, and drifts further and further away from Marlene. Over time, it becomes clear that Naomi suffers from depression, which increasingly overwhelms Leonie. It is only when the relationship finally breaks down that Leonie realises just how much she has isolated herself. She leaves Berlin and begins an apprenticeship as a gardener in Brandenburg, which helps her to make sense of the world around her once more. With newfound strength, she plucks up the courage to reach out to her childhood friend Marlene after years of estrangement. “When I began shooting this film in 2017, I longed for a space in cinema where a young female or queer body could grow up free from the male gaze during the vulnerable period between the ages of 18 and 25. ‘Ninja Motherf*cking Destruction’ is a film about intimacy, about sexuality and about bodies that change over the course of eight years. And about the loving, painful, ambivalent web of relationships between (queer) women.” Lotta Schwerk
Credits:
DE 2025 79 mins, German with English subtitles, Director: Lotta Schwerk Cinematography: Fion Mutert Starring: Emma Suthe, Marie Tragousti, Merle von Mach, Yildiz Tiryakioglu
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