“The longing for your homeland never goes away,” says the filmmaker Bahar Bektaş. Her brother is in prison in Germany. He is supposed to be deported and is waiting for the early transfer to Turkey he has requested. Because there seems to be no end to the waiting, Bahar turns her camera on her Alevi Kurdish family and examines the consequences of being uprooted. Ina Borrmann
Credits:
DE 2024, 100 Min., Deutsch, Türkisch mit deutschen Untertiteln Regie: Bahar Bektaş. Kamera: Antonia Kilian und Meret Madörin Schnitt: Arash Asadi
Trailer:
Exile never ends | offizieller deutscher Trailer
“The longing for your homeland never goes away,” says the filmmaker Bahar Bektaş. Her brother is in prison in Germany. He is supposed to be deported and is waiting for the early transfer to Turkey he has requested. Because there seems to be no end to the waiting, Bahar turns her camera on her Alevi Kurdish family and examines the consequences of being uprooted. Ina Borrmann
Credits:
DE 2024, 100 Min., Deutsch, Türkisch mit deutschen Untertiteln Regie: Bahar Bektaş. Kamera: Antonia Kilian und Meret Madörin Schnitt: Arash Asadi
Trailer:
Exile never ends | offizieller deutscher Trailer
Ivo works as a palliative home-care nurse. Every day, she visits families, couples and single people. They live in small flats and large houses. They all have different lives and deaths. They all have different ways of dealing with the time that remains. At home, Ivo’s teenage daughter has long since become independent. From morning to night, Ivo drives around in her old Skoda which she has made into her personal living space. Here, she eats her meals, works, sings, swears and dreams. One of her patients, Solveigh, has become a close friend. Ivo has also formed a relationship with Solveigh’s husband, Franz. Day after day, the two work together to care for Solveigh. And they sleep with each other. Solveigh’s strength is diminishing and she soon has to rely on support for the simplest tasks. She wants the final decision to be her own: she wants Ivo to help her die.
Credits:
DE 2024, 104 Min., deutsche OmeU Regie: Eva Trobisch Kamera: Adrian Campean Schnitt: Laura Lauzemis mit Minna Wündrich, Pia Hierzegger, Lukas Turtur
Lucy is a 32-year-old woman living in Los Angeles with her best friend Jane and working as a receptionist at a spa. She finds little satisfaction in her romantic life, including with her friend Ben, who becomes frustrated at her continued avoidance of his advances. Jane receives a work promotion that will require her to relocate to London, and goes out for drinks with Lucy and Jane’s boyfriend Danny to celebrate. After Jane confesses to kissing a female friend as a teenager, Lucy drunkenly tells her that she thinks she might be a lesbian. Jane encourages her to explore her feelings, suggesting that Lucy should pursue her flirtatious massage therapist co-worker Brittany.
Lucy invites Brittany to her house for dinner, but receives mixed signals as Brittany shares about her ex-boyfriend, but also declares her sexuality to be „on the spectrum” and kisses her before leaving. Jane brings Lucy to a lesbian bar, but Lucy is shy and soon leaves after seeing Jane kissing other women on the dance floor; the two fight and stop speaking. Lucy meets up with Brittany again. The two have sex, but Brittany quickly leaves the following morning and becomes distant, later reconciling with her ex-boyfriend. Meanwhile, Jane deals with the pressures of her upcoming move, including her self-absorbed co-worker Kat and Danny’s confession that he does not want to join Jane in London as she assumed he would.
Lucy quits her job to return to her passion of painting, and begins meeting other women on dating apps. She comes out to Ben, and the two reconcile as friends. After going on a „hammock retreat” with Kat, Jane makes up with Lucy, excitedly offering support for the changes in her life. Lucy offers to drive Jane to the airport as she heads to London, only to reveal that she will be joining her on the trip to help ease her transition.
War and Justice is the first and only true-life documentary about the International Criminal Court (ICC), thanks to unprecedented access to Ben Ferencz, Luis Moreno Ocampo (ICC’s first prosecutor), and Karim Khan (its current prosecutor). Film directors Marcus Vetter and Michele Gentile follow Ocampo around the world as he enlists the support of Academy Award-winning Angelina Jolie and as they join Ferencz in the uphill battle against wars in the Congo, Libya, Palestine, and Ukraine. In the course of the film, the complexities of international law are given a face, and the viewer understands why those who launch wars of aggression, the mother of all war crimes, can hardly be brought to justice while the world’s largest military powers — China, India, Russia, and the United States — remain unwilling to recognize the ICC’s jurisdiction.Sadly, just as the film is about to debut, Ferencz dies at the age of 103. But Ocampo and Khan fight on in his honor, more determined than ever to put an end to all wars of aggression. Because war begets revenge; justice does not.
Credits:
DE 2023 96 Min., engl. OmU Regie +Schnitt: Marcus Vetter und Michele Gentile Kamera: Christian Haardt, Marcus Vetter, Michele Gentile
Naples, early 1980s: Aldo and Vanda’s marriage finds itself on the rocks when Aldo falls in love with the young Lidia. Thirty years later, Aldo and Vanda are still married. A thriller about emotions, a story of loyalty and infidelity, of rancor and shame. A betrayal, suffering, a secret box, a devastated home, a cat, the voice of the lovers and that of the estranged.
Credits:
Lacci IT 2020, 100 Min., ital. OmU Regie: Daniele Luchetti Kamera: Ivan Casalgrandi Schnitt: Aël Dallier Vega · Daniele Luchetti mit Alba Rohrwacher, Luigi Lo Cascio, Laura Morante, Silvio Orlando, Giovanna Mezzogiorno
Samet (Deniz Celiloglu) is a young teacher in Eastern Anatolia. While waiting several years for a transfer to Istanbul, a series of events make him lose all hope. Until the day he meets Nuray (Merve Dizdar), a young teacher like him…
Lucy is a 32-year-old woman living in Los Angeles with her best friend Jane and working as a receptionist at a spa. She finds little satisfaction in her romantic life, including with her friend Ben, who becomes frustrated at her continued avoidance of his advances. Jane receives a work promotion that will require her to relocate to London, and goes out for drinks with Lucy and Jane’s boyfriend Danny to celebrate. After Jane confesses to kissing a female friend as a teenager, Lucy drunkenly tells her that she thinks she might be a lesbian. Jane encourages her to explore her feelings, suggesting that Lucy should pursue her flirtatious massage therapist co-worker Brittany.
Lucy invites Brittany to her house for dinner, but receives mixed signals as Brittany shares about her ex-boyfriend, but also declares her sexuality to be „on the spectrum” and kisses her before leaving. Jane brings Lucy to a lesbian bar, but Lucy is shy and soon leaves after seeing Jane kissing other women on the dance floor; the two fight and stop speaking. Lucy meets up with Brittany again. The two have sex, but Brittany quickly leaves the following morning and becomes distant, later reconciling with her ex-boyfriend. Meanwhile, Jane deals with the pressures of her upcoming move, including her self-absorbed co-worker Kat and Danny’s confession that he does not want to join Jane in London as she assumed he would.
Lucy quits her job to return to her passion of painting, and begins meeting other women on dating apps. She comes out to Ben, and the two reconcile as friends. After going on a „hammock retreat” with Kat, Jane makes up with Lucy, excitedly offering support for the changes in her life. Lucy offers to drive Jane to the airport as she heads to London, only to reveal that she will be joining her on the trip to help ease her transition.
Wim Wenders’ first films were characterised by the theme of movement, and so it is no coincidence that the German filmmaker’s latest fiction feature is reminiscent of that luminous period in his filmography. The life of the mysterious man who cleans public toilets in Tokyo (played by Yakusho Koji) is defined by quotidian movement and observation. The prodigious secret of PERFECTDAYS lies in how it heightens our perception of all the transitional acts that determine his working routine; distraction is forbidden here. Everything indicates that cleaning toilets and urinals is an undesirable task, but in Japan this task appears like an appropriate procedure for a veritable science of cleanliness. And while it seems theoretically implausible that a man with such a job reads Faulkner at night, is a music lover and pays attention to the trees in order to photograph them with the sharpness of a professional, such qualities and passions can be seen as legitimate based on the other characters that appear in the film who duly reveal something of his past. Beauty and wonder are in equilibrium in all the sequences, and sublimely so when the dreams of this man who cleans bathrooms are depicted. (Roger Koza)
Credits:
JP 2023, 124 Min., japan. OmU Regie: Wim Wenders Kamera: Franz Lustig Schnitt: Toni Froschhammer mit: Koji Yakusho, Tokio Emoto, Arisa Nakano, Aoi Yamada, Yumi Aso, Sayuri Ishikawa, Tomokazu Miura as Tomoyama
“The longing for your homeland never goes away,” says the filmmaker Bahar Bektaş. Her brother is in prison in Germany. He is supposed to be deported and is waiting for the early transfer to Turkey he has requested. Because there seems to be no end to the waiting, Bahar turns her camera on her Alevi Kurdish family and examines the consequences of being uprooted. Ina Borrmann
Credits:
DE 2024, 100 Min., Deutsch, Türkisch mit deutschen Untertiteln Regie: Bahar Bektaş. Kamera: Antonia Kilian und Meret Madörin Schnitt: Arash Asadi
Trailer:
Exile never ends | offizieller deutscher Trailer
Ivo works as a palliative home-care nurse. Every day, she visits families, couples and single people. They live in small flats and large houses. They all have different lives and deaths. They all have different ways of dealing with the time that remains. At home, Ivo’s teenage daughter has long since become independent. From morning to night, Ivo drives around in her old Skoda which she has made into her personal living space. Here, she eats her meals, works, sings, swears and dreams. One of her patients, Solveigh, has become a close friend. Ivo has also formed a relationship with Solveigh’s husband, Franz. Day after day, the two work together to care for Solveigh. And they sleep with each other. Solveigh’s strength is diminishing and she soon has to rely on support for the simplest tasks. She wants the final decision to be her own: she wants Ivo to help her die.
Credits:
DE 2024, 104 Min., deutsche OmeU Regie: Eva Trobisch Kamera: Adrian Campean Schnitt: Laura Lauzemis mit Minna Wündrich, Pia Hierzegger, Lukas Turtur
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.
