Conservative politician Mathilda is actually in favor of strictly guarded EU external borders. Things become all the more difficult for her when she is asked to help her old friend Richard accommodate Malik, who has illegally entered the country from Morocco. Mathilda’s second-generation assistant Amina also questions her own position when Malik becomes the target of a terrorist investigation following a bomb attack.
Conservative politician Mathilda is actually in favor of strictly guarded EU external borders. Things become all the more difficult for her when she is asked to help her old friend Richard accommodate Malik, who has illegally entered the country from Morocco. Mathilda’s second-generation assistant Amina also questions her own position when Malik becomes the target of a terrorist investigation following a bomb attack.
In November, Forum & Friends VI will present films by Israeli artist Keren Cytter on two evenings at the fsk cinema: two short film programmes and the feature-length film THEWRONGMOVIE (USA, Belgium 2024), which premiered at the Berlinale Forum. Keren Cytter’s films are characterised by a deliberately artificial artistic style, combining narration with deconstruction, linearity with fragmentation, figuration with the absurd, rebellion with fragility, coolness with trips, punk with romance. The highly original plots are complemented by an associative play with form and medium, foils and generic codes, from genre and cultural history to individual auteur signatures – a whirlwind of film that draws us into the present moment as a virtual state of being. To the point of trance. Keren Cytter is a veritable multimedia artist, working in the fields of dance and performance, video and film, poetry and the visual arts, especially drawing, and has written five novels and three children’s books. A selection of her film and video works can now be seen in the programmes curated and moderated by Christiane Büchner and Barbara Wurm, with Keren Cytter as a guest. (Barbara Wurm)
A Utopian design for sexuality, relationships and love in the 21st century. Marianne is a doctor based in Oslo. She longs for closeness with other people, but she’s fed up with her sex life being constantly analysed and questioned by the expectations of others. One evening, she meets Tor, a nurse and colleague, on a ferry. He tells her of the ferry trips he takes when he can’t sleep and his chance meetings with other men. Curious, Marianne starts exploring other designs for relationships, off the beaten track.
Credits:
Love NO 2024, 119 Min, Norwegische OmU Regie: Dag Johan Haugerud Kamera: Cecilie Semec Schnitt: Jens Christian Fodstad, mit: Andrea Bræin Hovig, Tayo Cittadella Jacobsen, Marte Engebrigtsen, Lars Jacob Holm, Thomas Gullestad
As the star player at an elite tennis academy, Julie’s life revolves around the game she loves. When her coach falls under investigation and is suddenly suspended, all of the club’s players are encouraged to speak up. But Julie decides to keep quiet…
Credits:
Julie Keeps Quiet BE/SE 2024, 100 Min., Niederländisch-französische OmU Regie: Leonardo van Dijl Kamera: Nicolas Karakatsanis Schnitt: Bert Jacobs mit: Tessa Van den Broeck, Grace Biot, Alyssa Lorette, Ruth Becquart, Koen De Bouw, Pierre Gervais, Claire Bodson und Laurent Caron
Dreaming of escape from the bleakness of their industrial hometown, two 13-year-olds, Marija and Kristina, form a unique bond at a local modeling school, where the promise of a better life pushes girls to violate their bodies in increasingly extreme ways. „Through the story of young girls navigating toxic landscapes, I wanted to explore the concept of the human body – the body as a project, currency, an object of desire, the body as a source of pain and magic.” Saulė Bliuvaitė
Conservative politician Mathilda is actually in favor of strictly guarded EU external borders. Things become all the more difficult for her when she is asked to help her old friend Richard accommodate Malik, who has illegally entered the country from Morocco. Mathilda’s second-generation assistant Amina also questions her own position when Malik becomes the target of a terrorist investigation following a bomb attack.
Conservative politician Mathilda is actually in favor of strictly guarded EU external borders. Things become all the more difficult for her when she is asked to help her old friend Richard accommodate Malik, who has illegally entered the country from Morocco. Mathilda’s second-generation assistant Amina also questions her own position when Malik becomes the target of a terrorist investigation following a bomb attack.
A Utopian design for sexuality, relationships and love in the 21st century. Marianne is a doctor based in Oslo. She longs for closeness with other people, but she’s fed up with her sex life being constantly analysed and questioned by the expectations of others. One evening, she meets Tor, a nurse and colleague, on a ferry. He tells her of the ferry trips he takes when he can’t sleep and his chance meetings with other men. Curious, Marianne starts exploring other designs for relationships, off the beaten track.
Credits:
Love NO 2024, 119 Min, Norwegische OmU Regie: Dag Johan Haugerud Kamera: Cecilie Semec Schnitt: Jens Christian Fodstad, mit: Andrea Bræin Hovig, Tayo Cittadella Jacobsen, Marte Engebrigtsen, Lars Jacob Holm, Thomas Gullestad
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.
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.
Wir verwenden Cookies, um unsere Website und unseren Service zu optimieren.
Funktionale Cookies
Always active
Die technische Speicherung oder der Zugang ist unbedingt erforderlich für den rechtmäßigen Zweck, die Nutzung eines bestimmten Dienstes zu ermöglichen, der vom Teilnehmer oder Nutzer ausdrücklich gewünscht wird, oder für den alleinigen Zweck, die Übertragung einer Nachricht über ein elektronisches Kommunikationsnetz durchzuführen.
Vorlieben
Die technische Speicherung oder der Zugriff ist für den rechtmäßigen Zweck der Speicherung von Präferenzen erforderlich, die nicht vom Abonnenten oder Benutzer angefordert wurden.
Statistiken
Die technische Speicherung oder der Zugriff, der ausschließlich zu statistischen Zwecken erfolgt.Die technische Speicherung oder der Zugriff, der ausschließlich zu anonymen statistischen Zwecken verwendet wird. Ohne eine Vorladung, die freiwillige Zustimmung deines Internetdienstanbieters oder zusätzliche Aufzeichnungen von Dritten können die zu diesem Zweck gespeicherten oder abgerufenen Informationen allein in der Regel nicht dazu verwendet werden, dich zu identifizieren.
Marketing
Die technische Speicherung oder der Zugriff ist erforderlich, um Nutzerprofile zu erstellen, um Werbung zu versenden oder um den Nutzer auf einer Website oder über mehrere Websites hinweg zu ähnlichen Marketingzwecken zu verfolgen.
![Klandestin | Trailer [HD]](https://fsk-kino.peripherfilm.de/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FXL3n6p2UoM0%2F0.jpg)
