Ursula and Neda, an East German waitress with a broken heart and an Iranian YouTuber with a broken arm, both feel trapped and lonely in their precarious lives. The winding paths of chance draw the two women together on an unexpected ghost hunt in the mountains. A romantic adventure film about an unlikely friendship and the yearning for another life.
Credits:
DE 2025, 90 Min., Deutsch mit englischen Untertiteln Regie & Schnitt: Julian Radlmaier Kamera: Faraz Fesharaki mit: Clara Schwinning, Maral Keshavarz, Henriette Confurius, Paula Schindler, Ghazal Shojaei, Kyung-Taek Lie, Buksori Lie, u.a.
Ursula and Neda, an East German waitress with a broken heart and an Iranian YouTuber with a broken arm, both feel trapped and lonely in their precarious lives. The winding paths of chance draw the two women together on an unexpected ghost hunt in the mountains. A romantic adventure film about an unlikely friendship and the yearning for another life.
Credits:
DE 2025, 90 Min., Deutsch mit englischen Untertiteln Regie & Schnitt: Julian Radlmaier Kamera: Faraz Fesharaki mit: Clara Schwinning, Maral Keshavarz, Henriette Confurius, Paula Schindler, Ghazal Shojaei, Kyung-Taek Lie, Buksori Lie, u.a.
Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.
Credits:
CA 2024, 118 Min., Englisch OmU Regie: Lynne Ramsay Kamera: Seamus McGarvey Schnitt: Toni Froschhammer mit : Jennifer Lawrence, Robert Pattinson, Lakeith Stanfield, Sissy Spacek
Trailer:
DIEMYLOVE | Offizieller Teaser-Trailer | Ab 13. November im Kino
The film follows Nazi physician Josef Mengele in the years following the end of the Second World War, detailing his later life in Argentina, Paraguay, and Brazil. The film explores his relationships with his second wife Martha and his estranged son Rolf as he justifies his actions at Auschwitz concentration camp.
Credits:
FR/MX/DE/GB 2025, 135 Min., deutsch, spanische OmU, Regie: Kirill Serebrennikov Kamera: Vladislav Opelyants Schnitt: Hansjörg Weißbrich mit: D: August Diehl, Max Bretschneider, Dana Herfurth, Friederike Becht, Mirco Kreibich, David Ruland
Audiodeskriptionen, Untertitel und Hörverstärkung mit der Greta App
“It’s not about giving life more days, it’s about giving days more life” is one of the ideas formulated by Cicely Saunders, the founder of palliative care. It flickers up during a presentation in Philipp Döring’s four-hour institutional observation while a carer instructs a new staff member. They are at the Franziskus hospital in Berlin. Döring documents a few months here between the start of the year and summer, accompanying doctors on their rounds and in consultations with relatives and listening in on the team’s internal exchanges, which don’t shy away from mentioning shortcomings. A safe space is created that follows its own rules, in which dialogues about life paths are taken up and reflected upon, progress is celebrated and approaching farewells entrusted to the necessary people. Palliativstation is thus also a film about language, which shifts between medical jargon and different dialects and is sometimes only able to be produced with technical help. Döring gets very close to death, but with it also to life. His film is weighty, impressive and yet never becomes crushing under the burden of fate. One thing quickly becomes clear: life only ends with the final heartbeat.
Credits:
DE 2025, 245 Min., Regie, Kamera, Schnitt: Philipp Döring
Ángela, a deaf woman, and Héctor, her hearing partner, are expecting a child. They are excited about the pregnancy, although they do not yet know whether the baby will be deaf or hearing. Despite both claiming they can handle whatever comes, their underlying concerns are evident. After a complicated and emotionally intense labour, Ángela gives birth to their daughter, but the pair will have to wait a couple of months to learn if the baby is hearing or not. During this time, Héctor struggles to fully grasp the challenges Ángela is facing, while she must come to terms with raising a daughter who may not share her experience of the world. This journey forces both of them to question their roles as partners and parents, as Ángela grapples with her identity in a society that does not fully accept or understand her.
Credits:
ES 2025, 99 Min., Spanisch, span. Gebärden mit deutschen Untertiteln Regie, Buch: Eva Libertad Kamera: Gina Ferrer García Schnitt: Marta Velasco mit: Miriam Garlo, Álvaro Cervantes, Elena Irureta, Joaquín Notario
Trailer:
Trailer SORDA, von Eva Libertad (OV/de), ab 6. November im Kino
Ursula and Neda, an East German waitress with a broken heart and an Iranian YouTuber with a broken arm, both feel trapped and lonely in their precarious lives. The winding paths of chance draw the two women together on an unexpected ghost hunt in the mountains. A romantic adventure film about an unlikely friendship and the yearning for another life.
Credits:
DE 2025, 90 Min., Deutsch mit englischen Untertiteln Regie & Schnitt: Julian Radlmaier Kamera: Faraz Fesharaki mit: Clara Schwinning, Maral Keshavarz, Henriette Confurius, Paula Schindler, Ghazal Shojaei, Kyung-Taek Lie, Buksori Lie, u.a.
Fifteen-year-old Leo has grown up in Germany without a father. When she discovers his identity, she immediately sets out to track him down. She finds Paolo in a boarded-up beach bar on the wintry coast of northern Italy. The reunion leaves Paolo overwhelmed and conflicted. After Leo’s sudden appearance in his life, he struggles to balance his relationship between her and the family he has now. At first, Leo just wants answers. But soon, she starts to long for a place in Paolo’s life. With no money nor plans, she stays on in the small town. As they spend more time together, Leo and Paolo tentatively begin to bond and discover they have much in common. But reality inevitably catches up with them. When Paolo prioritises his younger daughter over Leo again, the latter is left hurt and angry. A confrontation lays bare their pain, apparently shattering their fragile connection. But, amid the turmoil, father and daughter begin to acknowledge their respective truths and take a small but meaningful step towards acceptance.
In her first two feature-length films, artist and filmmaker Selma Doborac grapples with crimes against humanity, testing the limits of how cinema can address such atrocities. In THOSESHOCKINGSHAKINGDAYS, she contemplated the possibility of documenting the horrors of war through rhetorical questions alone. In DEFACTO, however, she takes a fundamentally different approach: arriving at cinematic answers through the rigorous distillation of extensive research. The film’s clarity reveals the immense emotional and intellectual labor demanded of both director and cast to visualize the unfathomable. It is a work of deep consideration, carefully balancing abstraction with fact, and theatricality with restraint. This calibration serves a singular purpose: to move closer to an authentic reckoning with crimes that are not inhuman, but devastatingly human. Following the screening, we will discuss the creative process behind the film and how De Facto arrived at its distinct form. (Franz Müller)
“From the very first moment, DEFACTO develops a pull effect through the accuracy and complexity of its written text, increasingly opening out into a movement of thought. Paralysing moments in which genocidal crimes are described are repeatedly interrupted by historical and philosophical references, whereby the language spoken triggers its own reflection.” (Nothing More Monstrous than Man: The Caligari Prize-Winning Film DEFACTO, Essay by Silvia Bahl, Translation Peter Waugh, published in Filmdienst, March 2023)
“This film can be applied like a template to genocides, war crimes or speeches by dictators. It contains a consistent truth. Recognising that truth is the work of the film. It is up to us to do something about it. In this day and age, it has become almost an anachronism that one can only experience the temporality evoked by a film if we are exposed to it for the entire duration (either of one shot or of the whole film). Listening is an anachronism. At the same time, however, it is precisely this exposure that reminds us of the peculiar power of the medium. One listens and physically experiences what it means to be aware of the things that human beings are capable of.” (DEFACTO – Actualising an Evocation, Essay by Patrick Holzapfel, Translation Peter Waugh, published in Fidback, Revue de cinéma, Print Issue #0, September 2024)
“In DEFACTO it is Doborac who has amalgamated, over many years of research, what might otherwise have been treated as isolated cases, in a vacuum and categorised under the usual headings. This is a necessary step for cinema, because that which is said and which it is permissible to say changes with time. Then there are also the new old crimes. Cinema needs approaches that enable it to adapt, rather than certainties. Drawing comparisons between different crimes, an approach often used in political discourse, tends to lead in the wrong direction. Often it does not produce any insight at all, but rather serves to stigmatise – one need only think of the numerous Holocaust comparisons. It involves outworn arguments about manslaughter, which detach the actual crimes from their time, indicating the seriousness to a certain degree, but not presenting what actually happens or even how it could be prevented. Here, Doborac strives for the opposite: she does not draw any comparisons, but amalgamates them all as one. Could we speak of a utopian hope here? If we could understand what all these perpetrators have in common, could we prevent their crimes in the future?” (DEFACTO – Actualising an Evocation, Essay by Patrick Holzapfel, Translation Peter Waugh, published in Fidback, Revue de cinéma, Print Issue #0, September 2024)
Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.
Credits:
CA 2024, 118 Min., Englisch OmU Regie: Lynne Ramsay Kamera: Seamus McGarvey Schnitt: Toni Froschhammer mit : Jennifer Lawrence, Robert Pattinson, Lakeith Stanfield, Sissy Spacek
Trailer:
DIEMYLOVE | Offizieller Teaser-Trailer | Ab 13. November im Kino
Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.
Credits:
CA 2024, 118 Min., Englisch OmU Regie: Lynne Ramsay Kamera: Seamus McGarvey Schnitt: Toni Froschhammer mit : Jennifer Lawrence, Robert Pattinson, Lakeith Stanfield, Sissy Spacek
Trailer:
DIEMYLOVE | Offizieller Teaser-Trailer | Ab 13. November im Kino
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