Category: Vorstellung

A film by Nicolas Humbert and Werner Prenzel. In English with German subtitles.

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In this film two forms of artis­tic expres­si­on, impro­vi­sed music and cine­ma direct, are inter­re­la­ted. In both forms it is the moment that counts, the intui­ti­ve sen­se for what is hap­pe­ning in a space. Music and film come into exis­tence out of an inten­se per­cep­ti­on of the moment, not from the trans­for­ma­ti­on of a preor­da­i­ned plan. In impro­vi­sa­ti­on the plan is reve­a­led only at the end. One finds it. The other con­nec­tion con­cerns the work method: the film team as band. Much as musi­ci­ans com­mu­ni­ca­te via the music, our work, too, was rea­li­zed within a very small and fle­xi­ble team of equ­als. What mat­te­red was exch­an­ge. And move­ment. Sometimes we star­ted film­ing in the midd­le of the night, respon­ding to a new idea that had ari­sen only minu­tes befo­re. We had a fun­da­men­tal fee­ling for what we wan­ted to do, for what kind of film this should be. And we fol­lo­wed that fee­ling. It was all very instinctive.

Credits:

CH/DE 1989, 90 Min., engl. OmU,
Regie: Nicolas Humbert, Werner Prenzel
Kamera: Oscar Salgado
mit den Musiker*innen: Fred Frith, Iva Bittova, Tom Cora, Pavel Fajt, Eitetsu Hayashi, Zeena Parkins, Tim Hodgekison, Arto Lindsey, Bob Ostertag, John Zorn u.v.a.

Trailer:

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A film by Robert Guédiguian. In French with German subtitles.

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In the working-class dis­trict of old Marseilles, Rosa is the heart and soul of her com­mu­ni­ty, a nur­se and the matri­arch of a lar­ge and clo­se-knit fami­ly. But approa­ching reti­re­ment and sur­roun­ded by poli­ti­cal iner­tia, she is fee­ling dis­il­lu­sio­ned. Until she meets Henri and rea­li­ses it is never too late to ful­fil her own poli­ti­cal and per­so­nal dreams.

Credits:

Et la fête con­ti­nue ! 
FR/IT 2023, 106 Min., frz. OmU
Regie: Robert Guédiguian
Kamera: Pierre Milon
Schnitt: Bernard Sasia
mit: Ariane Ascaride, Jean-Pierre Darroussin, Gérard Meylan, Lola Naymark, Grégoire Leprince-Ringuet, Robinson Stévenin.

Trailer:

Im Kino mit deut­schen Untertiteln.

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A film by  Ina Weisse. 

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Isabell’s life takes a turn when she rea­li­ses that her elder­ly par­ents can no lon­ger live inde­pendent­ly. The search for carers is dif­fi­cult and the­re are also com­pli­ca­ti­ons in her mar­ria­ge to Philippe. She shut­tles bet­ween Berlin and her par­ents’ weekend house, a striking moder­nist buil­ding desi­gned by her pro­mi­nent father hims­elf in bet­ter days. There, Isabell repea­ted­ly encoun­ters the enig­ma­tic Anja, a sin­gle mother who is strugg­ling to make ends meet. An unex­pec­ted bond beg­ins to form. The more Anja and her daugh­ter Greta beco­me part of Isabell’s life, the more uncer­tain she feels about the exis­tence she has so careful­ly built for hers­elf. Isabell sen­ses the ground shif­ting beneath her feet as she incre­asing­ly loses control.

Credits:

DE/FR 2024, 100 Min.,
Regie:  Ina Weisse 
Kamera: Judith Kaufmann
Schnitt: Hansjörg Weißbrich
mit Nina Hoss, Saskia Rosendahl, Vincent Macaigne, Thorsten Merten

Trailer:

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A film by Abderrahmane Sissako. In Mandarin, French, English, Portugese with German subtitles.

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Aya is a woman in her ear­ly thir­ties. After asto­nis­hing ever­yo­ne by say­ing “No” on her wed­ding day, she lea­ves the Ivory Coast for a new life in China. Living in an area whe­re the African dia­spo­ra meets the Chinese cul­tu­re, she finds a job in a tea bou­tique owned by Cai, a 45-year-old Chinese man. In the pri­va­cy of the shop’s back­room, Cai initia­tes Aya into the Chinese tea cerem­o­ny. As he tea­ches her this anci­ent art, their rela­ti­onship slow­ly grows into one of ten­der love. But for their bur­geo­ning pas­si­on to be sup­port­ed by trust, both of them must let go of their bur­dens and face up to their pasts.

Credits:

FR/MR/LU/TW/CI 2024, 111 Min., Mandarin, Französisch, Englisch, Portugiesisch OmU
Regie: Abderrahmane Sissako
Kamera: Aymerick Pilarski
Schnitt: Nadia Ben Rachid
mit Nina Mélo, Chang Han, Wu Ke-Xi, Michael Chang

Trailer:

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A film by Abderrahmane Sissako. In Mandarin, French, English, Portugese with German subtitles.

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Aya is a woman in her ear­ly thir­ties. After asto­nis­hing ever­yo­ne by say­ing “No” on her wed­ding day, she lea­ves the Ivory Coast for a new life in China. Living in an area whe­re the African dia­spo­ra meets the Chinese cul­tu­re, she finds a job in a tea bou­tique owned by Cai, a 45-year-old Chinese man. In the pri­va­cy of the shop’s back­room, Cai initia­tes Aya into the Chinese tea cerem­o­ny. As he tea­ches her this anci­ent art, their rela­ti­onship slow­ly grows into one of ten­der love. But for their bur­geo­ning pas­si­on to be sup­port­ed by trust, both of them must let go of their bur­dens and face up to their pasts.

Credits:

FR/MR/LU/TW/CI 2024, 111 Min., Mandarin, Französisch, Englisch, Portugiesisch OmU
Regie: Abderrahmane Sissako
Kamera: Aymerick Pilarski
Schnitt: Nadia Ben Rachid
mit Nina Mélo, Chang Han, Wu Ke-Xi, Michael Chang

Trailer:

nach oben

A film by Abderrahmane Sissako. In Mandarin, French, English, Portugese with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Aya is a woman in her ear­ly thir­ties. After asto­nis­hing ever­yo­ne by say­ing “No” on her wed­ding day, she lea­ves the Ivory Coast for a new life in China. Living in an area whe­re the African dia­spo­ra meets the Chinese cul­tu­re, she finds a job in a tea bou­tique owned by Cai, a 45-year-old Chinese man. In the pri­va­cy of the shop’s back­room, Cai initia­tes Aya into the Chinese tea cerem­o­ny. As he tea­ches her this anci­ent art, their rela­ti­onship slow­ly grows into one of ten­der love. But for their bur­geo­ning pas­si­on to be sup­port­ed by trust, both of them must let go of their bur­dens and face up to their pasts.

Credits:

FR/MR/LU/TW/CI 2024, 111 Min., Mandarin, Französisch, Englisch, Portugiesisch OmU
Regie: Abderrahmane Sissako
Kamera: Aymerick Pilarski
Schnitt: Nadia Ben Rachid
mit Nina Mélo, Chang Han, Wu Ke-Xi, Michael Chang

Trailer:

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A film by Daniel Abma. Starts June 5th at the fsk. In German with English subtitles.

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When par­ents can no lon­ger ful­fil their duty of care, the children’s world often falls apart. Nothing stays as it was. Suddenly it is no lon­ger mum or dad who are in char­ge but the youth wel­fa­re sys­tem. Daniel Abma fol­lo­wed a youth housing group in a rural area over seve­ral years, show­ing pro­fes­sio­nal edu­ca­tors who want to give five boys bet­ween the ages of seven and four­teen what they need most urgen­tly, day by day: secu­ri­ty, ori­en­ta­ti­on, a home.
The docu­men­ta­ry focus is not on the child­ren but on tho­se who take the par­ents’ place. They some­ti­mes remind us of Don Quixote til­ting at the wind­mills, for the­re is a dif­fu­si­on of respon­si­bi­li­ty bet­ween school, youth wel­fa­re ser­vices, and absent mothers and fathers. Words fail when adults do not keep appoint­ments, when tho­se in char­ge capi­tu­la­te in the face of racist bul­ly­ing and pro­po­se some “time out” – for the bul­lied boy – in a psych­ia­tric faci­li­ty. It would be easy to denoun­ce the­se mecha­nisms, but that is not the point Daniel Abma wants to make. His obser­va­ti­on, both empha­tic and reser­ved, looks ques­tio­nin­gly into the gaps in the sys­tem – with tho­se who are in dan­ger of fal­ling through and tho­se who try to fill them with affec­tion. He makes us suspect that the ans­wer is not to clo­se all the system’s gaps. It is peo­p­le who are the­re for other peo­p­le and take respon­si­bi­li­ty. Luc-Carolin Ziemann

Credits:

DE 2024, 91 Min., dt. OmeU
Regie: Daniel Abma
Kamera: Johannes Praus
Schnitt: Jana Dugnus 

Trailer:

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A film by Jia Zhang-Ke. In Mandarin with German subtitles.

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An endu­ring but fra­gi­le love sto­ry shared by Qiaoqiao and Bin, set in China, from the ear­ly 2000s to the pre­sent day.
Caught up in each other, Qiaoqiao and Bin enjoy­ed all that the city had to offer, sin­ging and dancing. Until one day, Bin finds hims­elf wan­ting to try his luck in a big­ger place than Datong. He left wit­hout any noti­ce. Some time later, Qiaoqiao deci­des to go on a jour­ney to look for him.
Traversing all of his past films, Jia Zhangke deli­vers an epic look at the roman­tic desti­ny of his peren­ni­al heroi­ne, Qiaoqiao. Spanning 21 years of a coun­try going through pro­found trans­for­ma­ti­on, the film gives a new per­spec­ti­ve to look into the con­tem­po­ra­ry China as well as the indi­vi­du­al expe­ri­en­ces under the tur­bu­lent emo­tio­nal and social changes.

Credits:

Feng liu yi dai
CN 2024, 110 Min., chin. OmU
Regie: Jia Zhang-Ke
Kamera: Yu Lik-Wai, Eric Gautier
Schnitt: Yang Chao, Lin Xudong, Matthieu Laclau
mit: Zhao Tao, Li Zhubin, Pan Jianlin, Lan Zhou

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A film by Dag Johan Haugerud. In Norwegian with German subtitles.

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Two chim­ney sweeps living in mono­ga­mous, hete­ro­se­xu­al mar­ria­ges both end up in situa­tions that chall­enge their views on sexua­li­ty and gen­der roles. One has a sexu­al encoun­ter with ano­ther man, wit­hout hims­elf expe­ri­en­cing it eit­her as an expres­si­on of homo­se­xu­al lon­gings or infi­de­li­ty. The other sud­den­ly expe­ri­en­ces noc­turnal dreams in which he is seen as a woman. This con­fu­ses and dis­turbs him. He beg­ins to won­der to what ext­ent the gaze of others shapes his per­so­na­li­ty and whe­ther the­re are aspects of hims­elf that he has sup­pres­sed, ther­eby limi­ting hims­elf.
In Dag Johan Haugerud’s Sex, the chim­ney is swept befo­re we get down to busi­ness. Whether hete­ro or homo, wit­ty word­play chal­lenges nor­ma­ti­ve images of men and socie­ty in modern urban Norway.

Credits:

OT: Sex
DE 2023, 90 Min., norw. OmU
Regie: Dag Johan Haugerud
Kamera: Cecilie Semec
Schnitt: Jens Christian Fodstad
mit: Jan Gunnar Røise, Thorbjørn Harr, Siri Forberg, Birgitte Larsen

Trailer:

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A film by Nicolas Humbert and Werner Prenzel. In English with German subtitles.

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In this film two forms of artis­tic expres­si­on, impro­vi­sed music and cine­ma direct, are inter­re­la­ted. In both forms it is the moment that counts, the intui­ti­ve sen­se for what is hap­pe­ning in a space. Music and film come into exis­tence out of an inten­se per­cep­ti­on of the moment, not from the trans­for­ma­ti­on of a preor­da­i­ned plan. In impro­vi­sa­ti­on the plan is reve­a­led only at the end. One finds it. The other con­nec­tion con­cerns the work method: the film team as band. Much as musi­ci­ans com­mu­ni­ca­te via the music, our work, too, was rea­li­zed within a very small and fle­xi­ble team of equ­als. What mat­te­red was exch­an­ge. And move­ment. Sometimes we star­ted film­ing in the midd­le of the night, respon­ding to a new idea that had ari­sen only minu­tes befo­re. We had a fun­da­men­tal fee­ling for what we wan­ted to do, for what kind of film this should be. And we fol­lo­wed that fee­ling. It was all very instinctive.

Credits:

CH/DE 1989, 90 Min., engl. OmU,
Regie: Nicolas Humbert, Werner Prenzel
Kamera: Oscar Salgado
mit den Musiker*innen: Fred Frith, Iva Bittova, Tom Cora, Pavel Fajt, Eitetsu Hayashi, Zeena Parkins, Tim Hodgekison, Arto Lindsey, Bob Ostertag, John Zorn u.v.a.

Trailer:

nach oben