Category: Vorstellung

A film by Tim Ellrich. In German.

[Credits] [Tickets & Termine] [Trailer]

A the­ra­pist who­se inte­rests lie in alter­na­ti­ve ways to help the sick and infirm is forced to balan­ce the demands of her pro­fes­sio­nal life with tho­se of her age­ing par­ents and older brot­her, in Tim Ellrich’s sen­si­ti­ve but uncom­pro­mi­sing drama.

Holle works as a spi­ri­tu­al hea­ler, ten­ding to cli­ents with serious ill­nesses and chro­nic con­di­ti­ons. One of four siblings, she devo­tes much of her time to caring for her age­ing par­ents, a com­mit­ment that strains her rela­ti­onship with her part­ner. When her mother suf­fers a fall and is hos­pi­ta­li­sed, Holle faces moun­ting chal­lenges, par­ti­cu­lar­ly in rela­ti­on to her brot­her Sven, who has schi­zo­phre­nia and has lived a secluded life in their par­ents’ attic for years.

Inspired by film­ma­ker Tim Ellrich’s own fami­ly expe­ri­en­ces and shot on loca­ti­on at his child­hood home, Im Haus mei­ner Eltern is an incisi­ve explo­ra­ti­on of the toll care­gi­ving takes on fami­lies. Filmed in stark black and white, its visu­als cap­tu­re both the exhaus­ti­on of care­gi­ving and the claus­tro­pho­bia of lives bound by duty. Ellrich avo­ids easy judgments, ins­tead offe­ring a thoughtful reflec­tion on how socie­ty tre­ats the elder­ly and infirm and the fric­tion the­se respon­si­bi­li­ties crea­te within fami­lies – from tho­se who should­er the bur­den to tho­se who keep their distance. With empa­thy and an under­sta­ted approach, Im Haus mei­ner Eltern, exami­nes the uns­po­ken ten­si­ons and quiet sacri­fices that defi­ne fami­ly life under pressure.

Vanja Kaludjercic

Credits:

DE 2025, 95 Min,
Regie: Tim Ellrich
Kamera: Konstantin Pape
Schnitt: Tobias Wilhelmer
mit: Jenny Schily, Ursula Werner, Manfred Zapatka und Jens Brock 

Trailer:

Im Haus mei­ner Eltern – trai­ler | IFFR 2025

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A film by Marta Savina. In Italian with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Ahead of her time: an Italian sto­ry, which reso­na­tes today, about a bra­ve woman’s strugg­le against patri­ar­chal values.

Defying the social norm in 1960s Sicily, Lia wants to take char­ge of her life. When she rejects Lorenzo, the son of a local busi­ness­man, he uses bru­tal means to kid­nap her. To save her honor, Lia must con­sent to mar­ry­ing the man who raped her. Instead, though, she embarks on an unpre­ce­den­ted legal batt­le for self-determination.

Credits:

IT 2023 – 102 Min.
Italienische OmU
Regie: Marta Savina
Kamera: Francesca Amitrano
Schnitt: Paola Freddi

Trailer:

Trailer „Primadonna”

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

[Credits] [Tickets & Termine] [Trailer]

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.

Trailer:

nach oben

A film by Mike Treen. On April 11th 3pm at the fsk. In English.

[Tickets]

The Session Man, a 90-minu­te docu­men­ta­ry fea­ture film, tells the sto­ry of Nicky Hopkins, the high­ly gifted and pro­li­fic ses­si­on pia­nist, and unsung hero.

Nicky not only play­ed with The Kinks, The Who, The Rolling Stones and The Beatles, he also play­ed on solo albums of all four mem­bers of the Beatles in the ear­ly part of a stel­lar care­er that span­ned over 30 years. During that time, he con­tri­bu­ted to over 250 albums and a vast num­ber of sin­gle releases.

Nicky’s legen­da­ry pia­no riffs and won­derful musi­cal motifs hel­ped ordi­na­ry tracks beco­me extra­or­di­na­ry and ico­nic. So many of them remain popu­lar today. The gene­ra­ti­ons that fol­lo­wed the Golden Era of Rock And Roll soon dis­co­ver tho­se ico­nic tracks that made Nicky Hopkins a legend among­st his peers – tracks like Revolution by The Beatles, Like A Rainbow, Sympathy For The Devil and Angie by the Rolling Stones, Jealous Guy by John Lennon from his Imagine album and You Are So Beautiful by Joe Cocker.

Nicky’s sto­ry is told in the film by Albert Lee, Antonia Cipollina, Arthur Rochester, Benmont Tench, Bill Wyman, Billy Nicholls, Bro Paul Brown, Chris Kimsey, Chris Welch, Chuck Leavell, Dave Davies, Glyn Johns, Graham Parker, Gray Levett, Greg Phillinganes, Harry Shearer, Helen O’Hara, Jack Casady, Jim Keltner, Joe Tansin, John Goddard, Jorma Kaukonen, Julian Dawson (Nicky’s bio­grapher – aut­hor of And on Piano… Nicky Hopkins), Keith Richards, Merrell Fankhauser, Mick Jagger, Mike Hurst, Mike McCartney, Moira Hopkins (Nicky’s widow), Morgan Fisher, Nils Lofgren, Paddy Milner, Pete Edmonds, Pete Sears, Pete Townshend, Peter Frampton, PP Arnold, Rory Kaplan, Sarah Sleet (CEO of Crohn’s & Colitis UK), Shel Talmy, Slim Jim Phantom, Terry Reid and Tom Speight.

The Session Man’s nar­ra­tor, Bob Harris, for­mer pre­sen­ter of the BBC’s Old Grey Whistle Test, had no hesi­ta­ti­on at the end of the film in con­fir­ming that, “Nicky Hopkins’ con­tri­bu­ti­ons made him rock and roll’s grea­test ses­si­on man.”
https://thesessionmanfilm.com/

The Session Man (2023) Trailer

A film by Gints Zilbalodis. Without dialogues.

[Credits] [Tickets & Termine] [Trailer]

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

Trailer:

FLOW l Kinotrailer

nach oben

A film by Tim Ellrich. In German.

[Credits] [Tickets & Termine] [Trailer]

A the­ra­pist who­se inte­rests lie in alter­na­ti­ve ways to help the sick and infirm is forced to balan­ce the demands of her pro­fes­sio­nal life with tho­se of her age­ing par­ents and older brot­her, in Tim Ellrich’s sen­si­ti­ve but uncom­pro­mi­sing drama.

Holle works as a spi­ri­tu­al hea­ler, ten­ding to cli­ents with serious ill­nesses and chro­nic con­di­ti­ons. One of four siblings, she devo­tes much of her time to caring for her age­ing par­ents, a com­mit­ment that strains her rela­ti­onship with her part­ner. When her mother suf­fers a fall and is hos­pi­ta­li­sed, Holle faces moun­ting chal­lenges, par­ti­cu­lar­ly in rela­ti­on to her brot­her Sven, who has schi­zo­phre­nia and has lived a secluded life in their par­ents’ attic for years.

Inspired by film­ma­ker Tim Ellrich’s own fami­ly expe­ri­en­ces and shot on loca­ti­on at his child­hood home, Im Haus mei­ner Eltern is an incisi­ve explo­ra­ti­on of the toll care­gi­ving takes on fami­lies. Filmed in stark black and white, its visu­als cap­tu­re both the exhaus­ti­on of care­gi­ving and the claus­tro­pho­bia of lives bound by duty. Ellrich avo­ids easy judgments, ins­tead offe­ring a thoughtful reflec­tion on how socie­ty tre­ats the elder­ly and infirm and the fric­tion the­se respon­si­bi­li­ties crea­te within fami­lies – from tho­se who should­er the bur­den to tho­se who keep their distance. With empa­thy and an under­sta­ted approach, Im Haus mei­ner Eltern, exami­nes the uns­po­ken ten­si­ons and quiet sacri­fices that defi­ne fami­ly life under pressure.

Vanja Kaludjercic

Credits:

DE 2025, 95 Min,
Regie: Tim Ellrich
Kamera: Konstantin Pape
Schnitt: Tobias Wilhelmer
mit: Jenny Schily, Ursula Werner, Manfred Zapatka und Jens Brock 

Trailer:

Im Haus mei­ner Eltern – trai­ler | IFFR 2025

nach oben

A film by Marta Savina. In Italian with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Ahead of her time: an Italian sto­ry, which reso­na­tes today, about a bra­ve woman’s strugg­le against patri­ar­chal values.

Defying the social norm in 1960s Sicily, Lia wants to take char­ge of her life. When she rejects Lorenzo, the son of a local busi­ness­man, he uses bru­tal means to kid­nap her. To save her honor, Lia must con­sent to mar­ry­ing the man who raped her. Instead, though, she embarks on an unpre­ce­den­ted legal batt­le for self-determination.

Credits:

IT 2023 – 102 Min.
Italienische OmU
Regie: Marta Savina
Kamera: Francesca Amitrano
Schnitt: Paola Freddi

Trailer:

Trailer „Primadonna”

nach oben

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

[Credits] [Tickets & Termine] [Trailer]

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.

Trailer:

nach oben

A film by Federico Luis. Im Spanish with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

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, SIMÓN DE LA MONTAÑA is a remar­kab­le debut fea­ture that dares to explo­re the mur­ky waters of human beha­viour. (Diego Lerer)

Credits:

Argentinien, Uruguay, Chile 2024, 97 Min., span. OmU
Regie: Federico Luis
Kamera: Marcos Hastrup
Schnitt: Tomás Murphy, Andrés Medina
mit: Lorenzo Ferro, Pehuén Pedre, Kiara Supini, Laura Nevole, Agustín Toscano, Camila Hirane

Trailer:

Simón de la Montana ab 27.03.25 im Kino

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

[Credits] [Tickets & Termine] [Trailer]

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.

Trailer:

nach oben