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A film by Aslı Özge. In Turkish with German subtitles.

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Faruk, a man in his nine­ties, incre­asing­ly beco­mes the prot­ago­nist in the film his daugh­ter is making about the impen­ding demo­li­ti­on of his block of flats in Istanbul. In the hope of delay­ing the demo­li­ti­on of a buil­ding he has been living in for deca­des, Faruk regu­lar­ly attends buil­ding manage­ment mee­tings. As the daugh­ter films her father, the boun­da­ries bet­ween rea­li­ty and fic­tion begin to blur.
Shot in authen­tic loca­ti­ons and based on real cha­rac­ters and events, Aslı Özge’s new film offers an insight into the life of an elder­ly man in the bust­ling metro­po­lis of Istanbul. Alongside explo­ring the impli­ca­ti­ons of gen­tri­fi­ca­ti­on, the work also del­ves into the com­ple­xi­ties of a father-daugh­ter relationship.

Credits:

DE/TR/FR 2024, 97 Min., tür­ki­sche OmU
Regie: Aslı Özge
Kamera: Emre Erkmen
Schnitt: Andreas Samland, Aslı Özge
mit: Faruk Özge, Derya Erkenci, Gönül Gezer, Nurdan Çakmak, Semih Arslanoğlu, Fikret Özge

Trailer:

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A film by Asaf Saban. In Polish, English, Hebrew with German subtitles.

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“They want you to say some­thing in Hebrew. Like a pray­er or bles­sing.” – “I don’t know what to say, so … like … I pre­fer not to do that.” – “Ok, but just some­thing short. And then they’ll lea­ve you alone.”

The end of school is approa­ching. Together with their class and a Shoah sur­vi­vor, Frisch, Nitzan and Ido embark on a bus trip through Poland to visit for­mer con­cen­tra­ti­on camps and memo­ri­als of the Shoah. The trip, which is cus­to­ma­ry for teen­agers in Israel, con­fronts them with their iden­ti­ty, some­ti­mes in a very emo­tio­nal way. Simultaneously, as on every school trip, group dyna­mics, emo­tio­nal con­fu­si­on and con­flicts of desi­re are also pre­sent. Ha’Mishlahat tells of a cul­tu­re of remem­brance from the per­spec­ti­ve of young Israelis, who­se lively ener­gy col­l­i­des with a sta­tic sys­tem of memo­ri­al sites and modes. tells of a cul­tu­re of remem­brance from the per­spec­ti­ve of young Israelis, who­se lively ener­gy col­l­i­des with a sta­tic sys­tem of memo­ri­al sites and modes.

Credits:

Ha’Mishlahat
IL/PL/DE 2023, 101 Min., Polish, English, Hebrew OmU
Regie: Asaf Saban
Kamera: Bogumił Godfrejów
Schnitt: Michal Oppenheim
mit: Neomi Harari, Yoav Bavly, Leib Lev Levin,
Ezra Dagan, Alma Dishy u. a.

Trailer:

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A film by Ildikó Enyedi. In German and English with German subtitles.

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In the heart of a bota­ni­cal gar­den in a medieval uni­ver­si­ty town in Germany stands a maje­s­tic gink­go tree. This silent wit­ness has obser­ved over a cen­tu­ry the quiet rhyth­ms of trans­for­ma­ti­on across three human lives.
2020, a neu­ro­sci­en­tist from Hong Kong, explo­ring the mind of babies, beg­ins an unex­pec­ted expe­ri­ment with the old tree.
1972, a young stu­dent is pro­found­ly chan­ged by the simp­le act of obser­ving and con­nec­ting with a gera­ni­um.
1908, the university’s first fema­le stu­dent dis­co­vers, through the lens of pho­to­gra­phy, sacred pat­terns of the uni­ver­se hid­den within the hum­blest of plants.
We fol­low their clum­sy, awk­ward attempts to con­nect — each one of them deep­ly roo­ted in their own pre­sent — as they are trans­for­med by the quiet, endu­ring, and mys­te­rious power of natu­re. The anci­ent gink­go tree brings us clo­ser to what it means to be human — to our lon­ging to belong.

Credits:

DE/HU/FR 2025, 147 Min., deutsch, eng­li­sche OmU
Regie: Ildikó Enyedi
Kamera: Gergely Pálos
Schnitt: Károly Szala
mit: Tony Leung Chiu-wai, Luna Wedler, Enzo Brumm, Sylvester Groth, Martin Wuttke, Johannes Hegemann, Rainer Bock, Marlene Burow, Léa Seydoux

Trailer:

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A film by Jafar Panahi. In Farsi with German subtitles.

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Vahid, who was once impri­so­ned and tor­tu­red by the Iranian aut­ho­ri­ties, meets a man he belie­ves to have been his most sadi­stic tor­tu­rer. He can’t be sure though, as he was blind­fold­ed during the inter­ro­ga­ti­ons. Intent on vio­lent reven­ge but afraid of hur­ting an inno­cent per­son, he kid­naps the man and asks ano­ther for­mer inma­te to cor­rob­ora­te his sus­pi­ci­on. Neither abso­lut­e­ly con­fi­dent, they deci­de to track down other sur­vi­vors. The group keeps gro­wing as they dri­ve around in Vahid’s van with their pri­soner in tow, despera­te­ly pur­suing a cer­tain­ty that remains just bey­ond reach. A taut thril­ler nuan­ced by an under­cur­rent of absur­dist far­ce, YEK TASADOF‑E SADEH, win­ner of this year’s Palme d’Or, is Jafar Panahi’s most out­spo­ken and expli­cit­ly poli­ti­cal film to date. That it was made after he was hims­elf released from Tehran’s noto­rious Evin Prison gives the sto­ry an obvious auto­bio­gra­phi­cal dimen­si­on. Yet its moral impli­ca­ti­ons extend bey­ond the per­so­nal to encom­pass all of Iranian socie­ty in the wake of the Woman, Life, Freedom pro­tests. Now that new free­doms have been achie­ved, ope­ning an unpre­ce­den­ted win­dow of oppor­tu­ni­ty, the film sets the desi­re for ven­ge­an­ce against the impe­ra­ti­ve to keep pushing for­ward. (Giovanni Marchini Camia)

Credits:

Yek tasa­def sadeh یک تصادف ساده,
IR/FR/LU 2025, 102 Min., far­si OmU
Regie: Jafar Panahi
Kamera: Amin Jafari
Schnitt: Amir Etminan
mit: Vahid Mobasseri, Maryam Afshari, Ebrahim Azizi, Hadis Pakbaten

Trailer:

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