A film by Kurdwin Ayub. In German, Arabic and English with German subtitles.

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Kurdwin Ayub elec­trified with her wide­ly-lau­ded fea­ture debut SONNE (2022), depic­ting a Muslim girl’s expe­ri­en­ces gro­wing up in Vienna. She flips the per­spec­ti­ve in MOND, fol­lo­wing an Austrian woman on a work trip to Jordan. In an inspi­red cas­ting choice, cho­reo­grapher and per­for­mance artist Florentina Holzinger plays Sarah, a reti­red mixed mar­ti­al arts figh­ter hired as a per­so­nal trai­ner by a wealt­hy fami­ly in Amman. What initi­al­ly appears like a dream job—swanky hotel, pri­va­te driver—quickly turns troubling. The teenage sis­ters she is sup­po­sed to train show no inte­rest in the sport. Their pala­ti­al home is always deser­ted, apart from the clea­ning staff and seve­ral body­guards, who pat­rol the house as if it were a pri­son. The girls aren’t allo­wed to access the WiFi net­work and seem shut off from the out­side world. When Sarah enqui­res about the iden­ti­ty of her employ­ers at the hotel bar and men­ti­ons their fami­ly name, the pre­vious­ly fri­end­ly bar­man abrupt­ly ends the con­ver­sa­ti­on. While kee­ping the sto­ry in a rea­list regis­ter, Ayub bor­rows tro­pes from the thril­ler and hor­ror gen­res to gene­ra­te moun­ting sus­pen­se and upend the arche­ty­pe of the white saviour, thus for­cing view­ers to con­front their own pre­con­cep­ti­ons. (Giovanni Marchini Camia)

Credits:

AU 2024, 93 Min, deutsch/arabisch/englische OmU
Regie: Kurdwin Ayub
Kamera: Klemens Hufnagl,
Schnitt: Roland Stöttinger,
mit: Florentina Holzinger, Andria Tayeh, Celina Antwan, Nagham Abu Baker, u.a.

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A film by Ian White. In English with German subtitles.

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Formed in Melbourne, Australia in the late 1970s The Birthday Party were one of the most influ­en­ti­al acts of their time. From hum­ble begin­nings in sub­ur­ban Melbourne they grew to com­mand a level of respect around the world which remains undi­mi­nis­hed to this day. Fuelled by the incen­dia­ry rela­ti­onship bet­ween voca­list Nick Cave and gui­ta­rist Rowland S. Howard, The Birthday Party were fre­quent­ly descri­bed as the most dan­ge­rous band in the world.

Nick Cave – Vocals

Phill Calvert – Drums

Mick Harvey – Guitar, Drums

Rowland S. Howard – Guitar

Tracy Pew – Bass

Having emer­ged from the ashes of Cave and Harvey’s first punk-pop band, The Boys Next Door and mor­phed into The Birthday Party, they quick­ly rose to beco­me one of the most lau­ded post-punk bands in the coun­try. Motivated, ambi­tious and riding high on their suc­cess, the group deci­ded to relo­ca­te to London – whe­re a total­ly dif­fe­rent rea­li­ty awai­ted them. Scorned by the British music press and unable to obtain more than a handful of gigs, the band’s for­tu­nes col­lap­sed as they fro­ze and star­ved in a series of ever more squ­al­id bed­sits and squats.

Credits:

AU 2023, 99 Min, engl. OmU
Regie: Ian White
Kamera: Craig Johnston
Schnitt: Aaron J. March
mit: Phil Calvert, Nick Cave, Mick Harvey, Rowland S. Howard, Tracy Pew

Trailer:

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A film by Ladj Ly. In French with German subtitles.

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When the mayor of a Paris sub­urb dies, Pierre, a doc­tor, agrees to fill the posi­ti­on. He intends to con­ti­nue the xeno­pho­bic poli­ci­es of his pre­de­ces­sor, who aimed to rede­ve­lop the­se pover­ty-stri­cken immi­grant neigh­bor­hoods. But Haby, an acti­vist resi­dent of immi­grant heri­ta­ge, refu­ses to be dri­ven out and mounts an escala­ting batt­le for the office.

Credits:

Bâtiment 5 / Les Indésirables
FR 2023, 106 Min., frz. OmU
Regie: Ladj Ly
Kamera: Julien Poupard
Schnitt: Flora Volpelière
mit: Anta Diaw, Alexis Manenti, Aristote Luyindula, Steve Tientcheu, Aurélia Petit

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A film by Gints Zilbalodis. Starts March 6th at the fsk. Without dialogues.

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The world seems to be coming to an end, tee­ming with the ves­ti­ges of a human pre­sence. Cat is a soli­ta­ry ani­mal, but as its home is devas­ta­ted by a gre­at flood, he finds refu­ge on a boat popu­la­ted by various spe­ci­es, and will have to team up with them despi­te their dif­fe­ren­ces. In the lone­so­me boat sai­ling through mys­ti­cal over­flowed land­scapes, they navi­ga­te the chal­lenges and dan­gers of adap­ting to this new world.

Credits:

LV/FR/BE 2023, 84 Min., ohne Dialog
Regie: Gints Zilbalodis
Kamera: Léo Silly Pélissier
Schnitt: Gints Zilbalodis

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A film by Jonathan Millet. In Arabic and French with German subtitles.

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Hamid, is part of a secret group pur­suing the Syrian regime’s fugi­ti­ve lea­ders. His mis­si­on takes him to France, on the trail of his for­mer tor­tu­rer whom he must con­front. Based on true events.

Credits:

Les Fantômes FR 2024, 106 Min., Arab., Frz. OmU
Regie: Jonathan Millet
Kamera: Olivier Boonjing
Schnitt: Laurent Sénéchal
mit: Adam Bessa, Tawfeek Barhom, Julia Franz Richter, Hala Rajab, Safiqa El Till 

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A film by Andrea Arnold. In English with German subtitles.

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12 year old Bailey lives with her sin­gle dad Bug and brot­her Hunter in a squat in North Kent. Bug doesn’t have much time for his kids and Bailey who is approa­ching puber­ty seeks atten­ti­on and adven­ture elsewhere.

Credits:

GB 2023, 119 Min., engl. OmU,
Regie: Andrea Arnold
Kamera: Robbie Ryan
Schnitt: Joe Bini
mit: Barry Keoghan, Franz Rogowski, Nykiya Adams, Jason Edward Buda, Jasmine Jobson, James Nelson-Joyce
Kayleigh Frankie Box

Trailer:

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Sorry, this ent­ry is only available in Deutsch.

Ein Film von Mo Harawe.

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Der Eröffnungsfilm des letz­ten Afrikamera-Filmfestivals hat vie­le über­ra­schen­de Aspekte, ohne Wundertüte zu sein. Trotz Bürgerkrieg und pre­kä­rem Leben im Postkolonialismus geht es ruhig zu, die Sprache ist ein­fach und der Ton lako­nisch. Die drei Mitglieder einer unfrei­wil­li­gen Patchworkfamilie im Dorf Paradise in Somalia haben ihre eige­nen Sorgen. Mamargades Job als tra­di­tio­nel­ler Leichenbestatter wird bald von Maschinen über­nom­men, sei­ne Schwester Araweelo lebt in Scheidung und muss sich neu ori­en­tie­ren, und Ziehsohn Cigaal wird wegen Lehrermangels aufs Internat geschickt, was er nicht will, und wofür auch eigent­lich kein Geld da ist.
Der soma­lisch-öster­rei­chi­sche Drehbuchautor und Regisseur Mo Harawe lie­fert mit sei­nem Debütfilm einen sel­te­nen Einblick in ein Land, das kaum je auf der gro­ßen Leinwand zu sehen ist.
„Doch trotz der zahl­rei­chen per­sön­li­chen Rückschläge, die Harawe fast neben­bei in einen grö­ße­ren, poli­ti­schen Kontext ein­bet­tet, ist The Village Next to Paradise kei­ne Leidenspassion. Bild und Ton stre­ben dem ent­ge­gen: Die Primärfarben leuch­ten vor dem san­di­gen Hintergrund, Musik wird in Form von Liedern aus der Region sehr gezielt ein­ge­setzt. … Weltkino im bes­ten Sinn. Harawe gibt Einblicke in das Leben in einer Gegend, das so bis­lang kaum zu sehen war. Das gelingt ihm ohne Ausstellen von Fremdheit, Elend oder Sentimentalität. Fast sind sei­ne Charaktere zu resi­li­ent für das Leben in einer Wirklichkeit, in der eine Frau Worte sagen kann wie: ‚Es hat kei­nen Sinn, Kinder zu bekom­men. Sie haben kei­ne Zukunft und ster­ben jung.‘“
Valerie Dirk, Der Standard

​THE VILLAGE NEXT TO PARADISE ist der ers­te soma­li­sche Film, der jemals in der pres­ti­ge­träch­ti­gen Sektion „Un Certain Regard“ in Cannes gezeigt wurde.

Credits:

DE/FR/AU/SO 2024, 133 Min., Somali OmU
Regie: Mo Harawe
Kamera: Mostafa El Kashef
Schnitt: Joana Scrinzi, aea
mit Ahmed Ali Farah, Anab Ahmed Ibrahim, Ahmed Mohamud Saleban

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A film by Klára Tasovská. In Czech with German subtitles.

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Libuše Jarcovjáková docu­ments her life with ana­lo­gue pho­tos and dia­ry ent­ries. Her Czechoslovakian home­land is in the repres­si­ve pha­se of “nor­ma­li­sa­ti­on” after the sup­pres­si­on of the Prague Spring in 1968. The young pho­to­grapher sear­ches for islands of free­dom in Prague as well as her sexu­al iden­ti­ty; her came­ra is her con­stant com­pa­n­ion. One of the­se islands is the T‑Club, a mee­ting place for the que­er sce­ne. When a mur­der is com­mit­ted and the poli­ce beco­me inte­res­ted in Libuše’s pho­tos from the club, her per­so­nal jour­ney of eman­ci­pa­ti­on is abrupt­ly cut short. She enters into a mar­ria­ge of con­ve­ni­ence and moves to West Berlin. But this new world is also fil­led with obs­ta­cles. Using the last of her money, she flies to Tokyo and, for a short time, beco­mes a sought-after fashion pho­to­grapher the­re. Continuing to search for the life she wants to live, Libuše’s path leads her back to Prague via Berlin after the fall of the Iron Curtain. Using only pho­to­graphs and the dia­ry ent­ries she reads out hers­elf, the artist – tog­e­ther with the film­ma­ker – inti­m­ate­ly rela­tes her search for iden­ti­ty, ever­y­day strug­gles, phy­si­cal­i­ty, rela­ti­onships and emotions

Credits:

Ještě nej­sem, kým chci být
CZ/SK/AU 2024, 90 Min., tsche­chi­sche Originalfassung mit deut­schen Untertiteln
Regie: Klára Tasovská
Schnitt: Alexander Kashcheev

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A film by Jesse Eisenberg. In English with German subtitles.

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A Real Pain fol­lows mis­mat­ched cou­sins David and Benji who reu­ni­te for a tour through Poland to honor their bel­oved grand­mo­ther. The adven­ture takes a turn when the odd cou­ple’s old ten­si­ons resur­face against the back­drop of their fami­ly history.

Credits:

US/PL 2024, 90 Min., engl. OmU
Regie: Jesse Eisenberg
Kamera: Michael Dymak
Schnitt: Robert Nassau
mit Jesse Eisenberg, Kieran Culkin, Will Sharpe, Jennifer Grey, Kurt Egyiawan, Liza Sadovy, Daniel Oreskes 

Trailer:

Im Kino mit deut­schen Untertiteln.

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A film by Alexander Horwath. In English and German with German and English subtitles.

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In 1980, two bio­gra­phies cross paths in a Paris cine­ma: tho­se of young cine­ma-goer Alexander Horwath and the actor Henry Fonda. Horwath reco­g­nis­ed ear­ly on that the popu­lar view of Fonda as a “typi­cal American” and the “con­sci­ence of the USA” in his acting roles doesn’t paint the full pic­tu­re. It is the more con­vo­lu­ted paths of Fonda’s bio­gra­phy and how he play­ed roles and embo­di­ed atti­tu­des exten­ding bey­ond indi­vi­du­al cha­rac­ters that tru­ly inte­rest Horwath. Thrillingly edi­ted with Michael Palm, his essay film fol­lows them across the histo­ry of film into an ima­gi­na­ry repu­blic of places, times, cha­rac­ters: “The United States of Fonda”. Fonda beco­mes the link bet­ween an old and a new America, the thoughtful face of the alle­ged tran­si­ti­on from the law of the jungle to civi­li­sa­ti­on as well as a cri­tic of an American self-image that only ser­ves its­elf. Paradoxically, it’s the magic of cine­ma invo­ked in the film that con­tri­bu­tes to this (self-)disenchantment of America via its own spe­ci­fic tech­ni­ques and the help of one of its grea­test magi­ci­ans. And in doing so crea­tes a won­derful­ly com­plex cine­ma­tic memo­ri­al to both the USA and sto­rytel­ler and actor Fonda – the pre­si­dent that never was.

Credits:

AT/DE 2024, 184 Min., engl./dt. Originalfassung mit deut­schen und eng­li­schen Untertiteln
Regie: Alexander Horwath
Kamera & Schnitt: Michael Palm

Trailer:

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