Milk has been an unprofitable commodity for a while now. Farming in general is suffering, and more and more farms are having to close. But Katinka is holding on to the family business, is being trained in farming, and is seeking her future in a place that remembers how things once were.
Credits:
DE 2024, 78 Min., deutsche Fassung Regie: Justine Bauer Kamera: Pedro Carnicer Schnitt: Semih Korhan Güner, Justine Bauer mit: Johanna Wokalek, Pauline Bullinger, Anne Nothacker, Sara Nothacker, Lore Bauer
Milk has been an unprofitable commodity for a while now. Farming in general is suffering, and more and more farms are having to close. But Katinka is holding on to the family business, is being trained in farming, and is seeking her future in a place that remembers how things once were.
Credits:
DE 2024, 78 Min., deutsche Fassung Regie: Justine Bauer Kamera: Pedro Carnicer Schnitt: Semih Korhan Güner, Justine Bauer mit: Johanna Wokalek, Pauline Bullinger, Anne Nothacker, Sara Nothacker, Lore Bauer
United by the unexpected inheritance of a house in Normandy, four estranged cousins discover their family history. While exploring the house, left untouched since the 1940s, they excavate the life of their ancestor, Adèle Vermillard, a 20 year old woman who lived there in 1895. The end of the 19th century saw the birth of both photography and the Impressionist movement, which profoundly changed painting. Through back-and-forth journeys between 1895 and 2025, they find in the relics of the past what will help them better envision their own future.
Credits:
La venue de l’avenir FR 2024, 124 Min., französische OmU Regie: Cédric Klapisch Kamera: Alexis Kavyrchine Schnitt: Anne-Sophie Bion mit: Suzanne Lindon, Vincent Macaigne, Cécile de France, Paul Kircher, Julia Piaton, Vassili Schneider, Vincent Perez
A father (Sergi López) and his son arrive at a rave deep in the mountains of southern Morocco. They’re searching for Mar — daughter and sister — who vanished months ago at one of these endless, sleepless parties. Surrounded by electronic music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading but they push through and follow a group of ravers heading to one last party in the desert. As they venture deeper into the burning wilderness, the journey forces them to confront their own limits.
Credits:
ES/FR 2025, 120 Min., span., frz. . OmU Regie: Oliver Laxe Kamera: Mauro Herce Schnitt: Cristóbal Fernández Musik: Kangding Ray mit: Sergi López, Bruno Núñez, Stefania Gadda, Joshua Liam Henderson
Trailer:
Sirāt | Trailer | Oliver Laxe | Sergi López | Bruno Nuñez
United by the unexpected inheritance of a house in Normandy, four estranged cousins discover their family history. While exploring the house, left untouched since the 1940s, they excavate the life of their ancestor, Adèle Vermillard, a 20 year old woman who lived there in 1895. The end of the 19th century saw the birth of both photography and the Impressionist movement, which profoundly changed painting. Through back-and-forth journeys between 1895 and 2025, they find in the relics of the past what will help them better envision their own future.
Credits:
La venue de l’avenir FR 2024, 124 Min., französische OmU Regie: Cédric Klapisch Kamera: Alexis Kavyrchine Schnitt: Anne-Sophie Bion mit: Suzanne Lindon, Vincent Macaigne, Cécile de France, Paul Kircher, Julia Piaton, Vassili Schneider, Vincent Perez
La Haine opens with a montage of news footage depicting urban riots in a banlieue in the commune of Chanteloup-les-Vignes near Paris. In the aftermath of the riots, a local man named Abdel Ichaha is gravely injured in police custody and is in intensive care. The riots escalate, leading to a siege of the local police station and the loss of a police officer’s revolver. The film follows the lives of three friends of Abdel, who are all young men from immigrant families, over approximately twenty consecutive hours.
Vinz, a young Jewish man with an aggressive temperament, seeks revenge for Abdel’s condition. He harbors a deep hatred for all police officers and secretly emulates Travis Bickle from Taxi Driver in front of his bathroom mirror. Hubert, an Afro-French boxer and small-time drug dealer, aspires to escape the banlieue and create a better life for himself. However, his boxing gymnasium was destroyed in the riots. Saïd, a young North African Muslim, acts as a mediator between Vinz and Hubert who constantly argue.
The three friends lead a directionless daily routine and frequently find themselves under police surveillance. At a rooftop party which is broken up by the police, Vinz insults a plainclothes police officer. After the trio leaves, Vinz reveals that he has discovered the .44 Magnum revolver lost during the riot. He plans to use it to kill a police officer if Abdel dies. While Hubert disapproves, Vinz secretly takes the gun with him. They try to visit Abdel in the hospital but are stopped by the police. Saïd is arrested after they aggressively refuse to leave, but he is later released with the assistance of a police officer who knows his brother.
A disagreement arises between Vinz and Hubert regarding their perspectives on policing and violence, leading them to part ways temporarily. Saïd accompanies Vinz, while Hubert briefly returns home. They reunite at another gathering in the banlieue, which quickly descends into chaos when Abdel’s brother attempts to murder a police officer as an act of revenge. This triggers a confrontation with the police, and the group narrowly escapes after Vinz almost shoots a riot officer. They board a train to Paris, where their interactions with both friendly and hostile Parisians escalate several situations into dangerous confrontations.
In a public restroom, they encounter a Polish survivor of the gulag who tells them a story about a man who froze to death after he refused to relieve himself in public near the train and then failed to re-board in time. The trio is perplexed by the meaning of the story.
Later, they visit Astérix, a frequent cocaine user who owes money to Saïd. This visit leads to a violent confrontation, as Astérix appears to force Vinz to play Russian roulette, although the gun is secretly unloaded. They encounter sadistic plainclothes police officers who arrest Saïd and Hubert while Vinz manages to escape. The police officers verbally and physically abuse the duo before imprisoning them until late at night, causing the three friends to miss the last train from Saint-Lazare station and spend the night on the streets.
After being kicked out of an art gallery and failing to hotwire a car, the trio takes shelter in a shopping mall. They hear from a news broadcast that Abdel has died. They make their way to a rooftop, where they insult skinheads. However, they encounter the same group of skinheads who mercilessly attack Saïd and Hubert. Vinz intervenes, holding one of the skinheads at gunpoint. Despite Hubert pushing Vinz to execute him, Vinz hesitates and ultimately lets the skinhead go.
In the early morning, the trio returns home, and Vinz hands the gun over to Hubert. Vinz and Saïd encounter the officer whom Vinz had insulted at the rooftop party. The officer seizes Vinz, threatening him with a loaded gun against his head. Hubert rushes to their aid, but the officer accidentally discharges his gun, killing Vinz. A tense standoff ensues between Hubert and the officer, as Saïd closes his eyes. A single gunshot is heard, leaving it unclear who fired the shot or who may have been struck.
This climactic standoff is accompanied by a voice-over of Hubert’s slightly modified opening lines („It’s about a society in free fall…”) and the recurring phrase jusqu’ici tout va bien („so far so good”). The film portrays a microcosm of French society’s descent from hostility into senseless violence, emphasizing that despite appearances, all is not well and the future remains uncertain. Wikipedia
Credits:
FR 1995, 98 Min., franz. OmU Regie und Buch: Mathieu Kassovitz Kamera: Pierre Aïm Schnitt: Mathieu Kassovitz, Scott Stevenson mit: Vincent Cassel, Hubert Kounde, Said Taghmaoui
1981 lud Taiwan zu einer ersten Fußballweltmeisterschaft der Frauen ein – zu einer Zeit, als der DFB den Frauenfußball, der in Deutschland bis 1970 offiziell verboten war, mehr duldete als förderte. Da die Gründung einer Frauennationalmannschaft für den DFB bis dato nicht von Interesse war, ging die Einladung an die deutschen Rekordmeisterinnen der SSG 09 Bergisch Gladbach.
Die ehemaligen Spielerinnen, die zum Teil noch in einer illegalen Thekenmannschaft auf einem Aschenplatz in Köln-Dellbrück begannen, erzählen im Film von den heute absurd anmutenden Bedingungen, unter denen sie für ihren großen Traum vom Fußball kämpften, gegen alle Widerstände und mit einer gehörigen Portion Humor. Ohne jede Unterstützung des DFB spielten sie vor hunderttausenden begeisterten Zuschauern in den WM-Stadien und live im taiwanesischen Fernsehen das Turnier ihres Lebens. Angeführt von Ausnahmetrainerin Anne Trabant-Haarbach, die gleichzeitig als Stürmerin mitspielte, wurde „Team Germany“ aus Bergisch Gladbach Weltmeister. Mit 25 Toren und ungeschlagen. Begleitet von historischem Filmmaterial – Zeitzeugnisse einer Männerwelt, die heute umso anachronistischer wirken – erzählt der Film eine Fußballgeschichte, in der es um viel mehr geht als sportlichen Erfolg, nämlich um Gleichberechtigung und Anerkennung.
Credits:
DE 2019, 85 Min., DF Regie & Schnitt: John David Seidler Kamera: Conny Beisler
Trailer:
Kinotrailer – Das Wunder von Taipeh – Als 11 Frauen den deutschen Fussball veränderten
A father (Sergi López) and his son arrive at a rave deep in the mountains of southern Morocco. They’re searching for Mar — daughter and sister — who vanished months ago at one of these endless, sleepless parties. Surrounded by electronic music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading but they push through and follow a group of ravers heading to one last party in the desert. As they venture deeper into the burning wilderness, the journey forces them to confront their own limits.
Credits:
ES/FR 2025, 120 Min., span., frz. . OmU Regie: Oliver Laxe Kamera: Mauro Herce Schnitt: Cristóbal Fernández Musik: Kangding Ray mit: Sergi López, Bruno Núñez, Stefania Gadda, Joshua Liam Henderson
Trailer:
Sirāt | Trailer | Oliver Laxe | Sergi López | Bruno Nuñez
Former power plant worker Wilma, who survived two political systems, faces a fresh start. After living her entire life in the rural lignite mining area (Ex-GDR), she left her village in the late 1990s when her world crumbled. Escaping to Vienna, she wants to rebuild her life. Old dreams of a better society resurface, and she embraces them with renewed energy, determined to create new paths for herself.
Credits:
DE 2025, 112 Min., Regie: Maren-Kea Freese Kamera: Michael Kotschi Schnitt: Andrea Muñoz Darsteller*innen: Fritzi Haberlandt, Thomas Gerber, Stephan Grossmann, Xenia Snagowski, Katrin Schwingel, Isabel Schosnig
Trailer:
Kinotrailer „Wilma will mehr” – Kinostart 31. Juli 2025
Milk has been an unprofitable commodity for a while now. Farming in general is suffering, and more and more farms are having to close. But Katinka is holding on to the family business, is being trained in farming, and is seeking her future in a place that remembers how things once were.
Credits:
DE 2024, 78 Min., deutsche Fassung Regie: Justine Bauer Kamera: Pedro Carnicer Schnitt: Semih Korhan Güner, Justine Bauer mit: Johanna Wokalek, Pauline Bullinger, Anne Nothacker, Sara Nothacker, Lore Bauer
United by the unexpected inheritance of a house in Normandy, four estranged cousins discover their family history. While exploring the house, left untouched since the 1940s, they excavate the life of their ancestor, Adèle Vermillard, a 20 year old woman who lived there in 1895. The end of the 19th century saw the birth of both photography and the Impressionist movement, which profoundly changed painting. Through back-and-forth journeys between 1895 and 2025, they find in the relics of the past what will help them better envision their own future.
Credits:
La venue de l’avenir FR 2024, 124 Min., französische OmU Regie: Cédric Klapisch Kamera: Alexis Kavyrchine Schnitt: Anne-Sophie Bion mit: Suzanne Lindon, Vincent Macaigne, Cécile de France, Paul Kircher, Julia Piaton, Vassili Schneider, Vincent Perez
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.
