Köln 75 tells the true story behind one of the best-selling jazz records of all time, Keith Jarrett’s “Köln Concert” from 1975. The event almost failed to happen – before a formidable German teenager, the 18-year-old Vera Brandes, pulls out all the stops and arranges the conditions for the creation of a masterpiece. Vera, who is still at school when she starts producing and promoting concerts in Cologne, puts everything on the line to stage this show. It looks like all the odds are against her, but Vera believes in the power of music and has never seen anyone play in the way that Keith Jarrett plays.
Credits:
DE/BE/PL 2024, 115 Min., Regie: Ido Fluk Kamera: Jens Harant Schnitt: Anja Siemens mit Mala Emde, John Magaro, Michael Chernus, Alexander Scheer, Ulrich Tukur
Köln 75 tells the true story behind one of the best-selling jazz records of all time, Keith Jarrett’s “Köln Concert” from 1975. The event almost failed to happen – before a formidable German teenager, the 18-year-old Vera Brandes, pulls out all the stops and arranges the conditions for the creation of a masterpiece. Vera, who is still at school when she starts producing and promoting concerts in Cologne, puts everything on the line to stage this show. It looks like all the odds are against her, but Vera believes in the power of music and has never seen anyone play in the way that Keith Jarrett plays.
Credits:
DE/BE/PL 2024, 115 Min., Regie: Ido Fluk Kamera: Jens Harant Schnitt: Anja Siemens mit Mala Emde, John Magaro, Michael Chernus, Alexander Scheer, Ulrich Tukur
Das vor kurzem erschienene Buch Aus der ersten Person. Filmische Autobiografien / Autofiktionvon Esther Buss (Scriptings/Archive Books, E‑Book Eeclectic 2025) ist eine persönliche Erkundung des „Ich-Films“ und seiner prägenden Gattungen Tagebuchfilm, Journal, Filmpoem und Travelogue. In Close Readings zu Arbeiten von Chantal Akerman, Dominique Cabrera, Alain Cavalier, Vincent Dieutre und anderen folgt die Autorin Blicken nach innen, aus dem Fenster und ins Weite, vollzieht Denkbewegungen und körperliche Erfahrungen nach und tastet sich durch das unbefestigte Gelände von Erinnerungsräumen. Die Publikation spannt dabei einen Bogen von der direkten Erzählweise früher Selbstdokumentationen bis hin zum autofiktionalen Essay- und Spielfilm der jüngeren Gegenwart. Zur Buchpräsentation zeigt das Arsenal zwei Filme, die sich in Form filmischer Schreibakte mit Fragen von Herkunft und Entfremdung befassen. (Esther Buss)
Familiengruft – ein Liebesgedicht an meine Mutter In FAMILIENGRUFT – EINLIEBESGEDICHTANMEINEMUTTER skizziert Maria Lang in grobkörnigen Schwarzweiß-Bildern Szenen aus dem kleinbürgerlichen Alltag ihrer Familie in einem bayerischen Dorf. Das so schroffe wie zärtliche Mutterporträt ist eine kritische Auseinandersetzung mit gesellschaftlichen Rollenbildern und der Versuch, den ambivalenten Gefühlslagen zwischen Nähe und Abgrenzung einen sprachlichen Ausdruck zu verleihen.
BRD 1981/1982, 11 Min., OF Deutsch Regie: Maria Lang
Ne croyez surtout pas que je hurle Die ausschließlich aus existierenden Filmbildern kompilierte Tagebuchchronik NECROYEZSURTOUTPASQUEJEHURLE protokolliert eine radikale Selbstisolation. Der Filmemacher Frank Beauvais bleibt nach der Trennung von seinem Lebensgefährten allein und hoffnungslos in einem elsässischen Dorf zurück, dessen Milieu ihm ein Graus ist. Mit exzessivem Filmkonsum versucht er seiner existenziellen Krise beizukommen, bald stellt sich jedoch die Frage, ob das Kino wirklich Rettung ist oder nicht vielmehr krank macht. Obsessive Selbstbeobachtung und Überlegungen zu den Potentialen und Fallen des Ich-Sagens verbinden sich mit dem Blick auf das (nicht minder krisenhafte) Weltgeschehen. Ein in seiner Sprach- und Bilderdichte soghaftes Werk, das durchaus gewollt Schwindelgefühle hervorruft. Erst wenn Bonnie Prince Billys düster-schönes Schlusslied erklingt, löst sich der Knoten.
FR 2019, 75 Min. französische OmeU Regie: Frank Beauvais
Dieses Programm ist Teil der vom Hauptstadtkulturfonds geförderten Veranstaltungsreihe Arsenal on Location:
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.
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.
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
Trailer:
Die Schattenjäger (Ghost Trail) Trailer Original mit dt. UT
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.
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.
The film is far from a straightforward portrayal of its subject. It doesn’t just focus on good and noble feelings, nor does it fall into the sort of simplistic binaries that set the “purity” of people with disabilities against the cynicism of society. Simón is deceitful, more than happy to lie and unafraid to get his friends into trouble, yet they never judge or punish him nor label him as problematic. At home, where his mother’s goodwill has been exhausted, a sense of apathy has set in that threatens to usurp the obvious love she feels for him. Luis’ film smartly refrains from judging her, as she seems unable to find a solution to her son’s unexplained antics; she only watches in surprise as Simón speaks less and less, imitates physical tics and retreats into his own personal version of disability. Engrossing, and narrated with great intelligence and subtlety, the film layers nuance upon nuance in its suitably ambivalent portrait of the titular character. With another enigmatic, yet empathetic performance by up-and-coming actor Lorenzo Ferro, SIMÓNDELAMONTAÑA is a remarkable debut feature that dares to explore the murky waters of human behaviour. (Diego Lerer)
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.
Köln 75 tells the true story behind one of the best-selling jazz records of all time, Keith Jarrett’s “Köln Concert” from 1975. The event almost failed to happen – before a formidable German teenager, the 18-year-old Vera Brandes, pulls out all the stops and arranges the conditions for the creation of a masterpiece. Vera, who is still at school when she starts producing and promoting concerts in Cologne, puts everything on the line to stage this show. It looks like all the odds are against her, but Vera believes in the power of music and has never seen anyone play in the way that Keith Jarrett plays.
Credits:
DE/BE/PL 2024, 115 Min., Regie: Ido Fluk Kamera: Jens Harant Schnitt: Anja Siemens mit Mala Emde, John Magaro, Michael Chernus, Alexander Scheer, Ulrich Tukur
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