In a sedate corner of Massachusetts circa 1970, JB Mooney (Josh O’Connor) an unemployed carpenter turned amateur art thief, plans his first big heist. When things go haywire, his life unravels.
Credits:
US 2025, 110 Min., engl. OmU Regie & Schnitt: Kelly Reichardt Kamera: Christopher Blauvelt mit: Josh O’Connor, Alana Haim, Hope Davis, John Magaro, Gaby Hoffmann, Bill Camp
Trailer:
THEMASTERMIND | Offizieller Trailer | Ab 16. Oktober im Kino
In a sedate corner of Massachusetts circa 1970, JB Mooney (Josh O’Connor) an unemployed carpenter turned amateur art thief, plans his first big heist. When things go haywire, his life unravels.
Credits:
US 2025, 110 Min., engl. OmU Regie & Schnitt: Kelly Reichardt Kamera: Christopher Blauvelt mit: Josh O’Connor, Alana Haim, Hope Davis, John Magaro, Gaby Hoffmann, Bill Camp
Trailer:
THEMASTERMIND | Offizieller Trailer | Ab 16. Oktober im Kino
A street in central Warsaw is the focus of this witty and personal portrait of Poland. Filmmaker Arjun Talwar immigrated to the country a decade ago but still struggles to fit in. Ulica Wilcza, the street where he lives, has not really helped matters. In an attempt to accelerate his integration, he begins filming his neighbours, sounding out his relationships with them and seeking ways to overcome his own feelings of alienation. With the help of his friend Mo, another immigrant-turned-filmmaker, Arjun uncovers the hidden secrets of the street, revealing a host of charming inhabitants. He finds other people like himself who are living between the past and present, between an imagined homeland and the real one. The street connects them all like an invisible thread, offering solace in the melancholy of everyday life. Along this kilometre-long stretch, a picture of modern Europe emerges, exposing a kaleidoscope of contradictions and anxieties as a foreign filmmaker holds up a mirror to a country that is often perceived as homogeneous, unwelcoming and politically right-wing.
When a single, unattributed missile is launched at the United States, a race begins to determine who is responsible and how to respond.
Director’s Statement I grew up in an era when hiding under your school desk was considered the go-to protocol for surviving an atomic bomb. It seems absurd now — and it was — but at the time, the threat felt so immediate that such measures were taken seriously. Today, the danger has only escalated. Multiple nations possess enough nuclear weapons to end civilisation within minutes. And yet, there’s a kind of collective numbness — a quiet normalisation of the unthinkable. How can we call this “defense” when the inevitable outcome is total destruction? I wanted to make a film that confronts this paradox — to explore the madness of a world that lives under the constant shadow of annihilation, yet rarely speaks of it.
Credits:
US 2025, 112 Min., Englisch OmU Regie: Kathryn Bigelow Kamera: Barry Ackroyd Schnitt: Kirk Baxter mit: Idris Elba, Rebecca Ferguson, Gabriel Basso, Jason Clarke, Greta Lee, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram und Jonah Hauer-King
In November 1992, a racist arson attack in Mölln shattered the lives of İbrahim Arslan and his family. At just seven years old, İbrahim survived, but he lost his sister, his cousin and his grandmother. In the aftermath of the attacks, the city received hundreds of letters of solidarity which were ignored for nearly three decades. Woven into İbrahim’s poignant journey of discovery and his encounters with three letter writers, these rediscovered letters form a visual and emotional bridge between past and present. The film follows İbrahim and his siblings, painting a complex portrait of the lasting trauma that continues to affect them to this day. While İbrahim has found a way to cope by fighting against racism and advocating for a remembrance culture centred on the victims’ perspectives, his brother Namik is still at the beginning of his journey to come to terms with the traumatic experiences. The film not only amplifies the perspectives of the victims and survivors but also uncovers the vibrant solidarity that once existed – a solidarity of which the victims and survivors were previously unaware. It offers a new perspective on remembrance – one that takes the voices of survivors and their experiences seriously and provides them with the space and recognition that they deserve.
Credits:
DE 2025, 96 Min., deutsch, türkische Originalfassung mit deutschen und türkischen Untertiteln Regie: Martina Priessner Schnitt: Maja Tennstedt Kamera: Ayşe Alacakaptan, Julia Geiß
There are several films about Kafka and adaptations of his works, mountains of Kafka biographies and other secondary literature, humorously illustrated in ‘Franz K.’ during one of the excursions into the bizarre present. Agnieszka Holland and author Marek Epstein have chosen a very lively approach for their film version, which appears like a collection of short stories. The film repeatedly jumps through time, showing excerpts and fragments of what is known about the life of the highly sensitive author. With a great willingness to experiment, it allows us to partake in his private and professional life and visually interprets excerpts from his work without, however, overusing ‘Kafkaesque’ imagery. It tells of family, friendship, pressure and fear, inner and outer constraints, often in a playful manner, but also with appropriate seriousness, as in its treatment of the increasingly threatening situation of Jews in Europe.
Credits:
DECZ 2025, 127 Min. Deutsch, Tschechisch OmdU Regie: Agnieszka Holland Drehbuch: Marek Epstein Kamera :Tomasz Naumiuk mit: Idan Weiss, Peter Kurth, Jenovéfa Boková, Ivan Trojan, Sandra Korzeniak, Katharina Stark
The former table tennis pro Dmitrij Mazunov is the coach at the newly founded TTC Neu-Ulm, home to a world class international team centred around the ping pong superstar Dimitrij Ovtcharov. In 2022, the club gets off to a flying start in the Bundesliga and Champions League but, later, match bans are imposed. Can the club be saved? Superbly filmed and extremely exciting. (Ysabel Fantou, DOK.fest München)
Credits:
DE 2025, 111 Min., English, German, Russian with German subtitles Director: Jonas Egert
There are several films about Kafka and adaptations of his works, mountains of Kafka biographies and other secondary literature, humorously illustrated in ‘Franz K.’ during one of the excursions into the bizarre present. Agnieszka Holland and author Marek Epstein have chosen a very lively approach for their film version, which appears like a collection of short stories. The film repeatedly jumps through time, showing excerpts and fragments of what is known about the life of the highly sensitive author. With a great willingness to experiment, it allows us to partake in his private and professional life and visually interprets excerpts from his work without, however, overusing ‘Kafkaesque’ imagery. It tells of family, friendship, pressure and fear, inner and outer constraints, often in a playful manner, but also with appropriate seriousness, as in its treatment of the increasingly threatening situation of Jews in Europe.
Credits:
DECZ 2025, 127 Min. Deutsch, Tschechisch OmdU Regie: Agnieszka Holland Drehbuch: Marek Epstein Kamera :Tomasz Naumiuk mit: Idan Weiss, Peter Kurth, Jenovéfa Boková, Ivan Trojan, Sandra Korzeniak, Katharina Stark
In a sedate corner of Massachusetts circa 1970, JB Mooney (Josh O’Connor) an unemployed carpenter turned amateur art thief, plans his first big heist. When things go haywire, his life unravels.
Credits:
US 2025, 110 Min., engl. OmU Regie & Schnitt: Kelly Reichardt Kamera: Christopher Blauvelt mit: Josh O’Connor, Alana Haim, Hope Davis, John Magaro, Gaby Hoffmann, Bill Camp
Trailer:
THEMASTERMIND | Offizieller Trailer | Ab 16. Oktober im Kino
Cluj, Transylvania. After being driven from his shelter in a house cellar, a homeless man commits suicide. Orsolya, the bailiff who carried out the eviction, is impelled to make various attempts to address her feelings of guilt. Using a mixture of drama and comedy, topics as diverse as the housing crisis, post-socialist economics, nationalism and the power of language to maintain social status are dissected with a sharp, absurdist scalpel, in a movie-literate narrative that plays partly as a homage to Rossellini’s Europa ’51 – not least in the modesty of this independent, low-budget production’s means. But while in Rossellini’s film a woman’s crisis of conscience leads to meaningful activity, here the protagonist facing the dilemma is unable to find anybody to understand her and becomes increasingly desperate for external reassurance and validation, in a manner that would be easy to condemn if Orsolya’s moral relativism were not such an uncomfortably accurate reflection of a modern-day malaise from which few of us are wholly immune.
When a single, unattributed missile is launched at the United States, a race begins to determine who is responsible and how to respond.
Director’s Statement I grew up in an era when hiding under your school desk was considered the go-to protocol for surviving an atomic bomb. It seems absurd now — and it was — but at the time, the threat felt so immediate that such measures were taken seriously. Today, the danger has only escalated. Multiple nations possess enough nuclear weapons to end civilisation within minutes. And yet, there’s a kind of collective numbness — a quiet normalisation of the unthinkable. How can we call this “defense” when the inevitable outcome is total destruction? I wanted to make a film that confronts this paradox — to explore the madness of a world that lives under the constant shadow of annihilation, yet rarely speaks of it.
Credits:
US 2025, 112 Min., Englisch OmU Regie: Kathryn Bigelow Kamera: Barry Ackroyd Schnitt: Kirk Baxter mit: Idris Elba, Rebecca Ferguson, Gabriel Basso, Jason Clarke, Greta Lee, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram und Jonah Hauer-King
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