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A film by Mohammad Rasoulof. In Farsi with German subtitles.

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A tar­get of Iran’s hard­li­ne con­ser­va­ti­ve govern­ment for his films’ cri­ti­cism of the sta­te, direc­tor Mohammad Rasoulof fled his home coun­try to avo­id an eight-year pri­son sen­tence, though he hadn’t finis­hed editing his latest film yet. His sea­ring dra­ma The Seed of the Sacred Fig won a Special Prize from the jury and three other awards on its pre­mie­re at the Cannes Film Festival. The film is every bit as urgent and grip­ping as its real-life back­story would por­tend: long­time govern­ment worker Iman (Missagh Zareh) has just recei­ved a major pro­mo­ti­on to the role of judge’s inves­ti­ga­tor, to the hop­eful delight of his wife Najmeh (Soheila Golestani); at the same moment, a series of stu­dent pro­tests against the govern­ment have explo­ded in the streets, sto­king the sym­pa­thies of their inde­pen­dent-min­ded daugh­ters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). The gro­wing wedge bet­ween pro­gres­si­ve child­ren and tra­di­tio­nal par­ents inten­si­fies through a series of unsett­ling events that put Iman’s future in jeo­par­dy. Both para­noia thril­ler and dome­stic dra­ma, The Seed of the Sacred Fig is abo­ve all an epic of anti-patri­ar­chal poli­ti­cal conviction.

Credits:

IR, DE, FR 2024, 168 Min., far­si OmU
Regie: Mohammad Rasoulof
Kamera: Pooyan Aghababaei
Schnitt: Andrew Bird
mit Missagh Zareh, Soheila Golestani, Mahsa Rostami, Setareh Maleki, Niousha Akhshi

Trailer:

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A film by Alexander Horwath. In English and German with German and English subtitles.

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In 1980, two bio­gra­phies cross paths in a Paris cine­ma: tho­se of young cine­ma-goer Alexander Horwath and the actor Henry Fonda. Horwath reco­g­nis­ed ear­ly on that the popu­lar view of Fonda as a “typi­cal American” and the “con­sci­ence of the USA” in his acting roles doesn’t paint the full pic­tu­re. It is the more con­vo­lu­ted paths of Fonda’s bio­gra­phy and how he play­ed roles and embo­di­ed atti­tu­des exten­ding bey­ond indi­vi­du­al cha­rac­ters that tru­ly inte­rest Horwath. Thrillingly edi­ted with Michael Palm, his essay film fol­lows them across the histo­ry of film into an ima­gi­na­ry repu­blic of places, times, cha­rac­ters: “The United States of Fonda”. Fonda beco­mes the link bet­ween an old and a new America, the thoughtful face of the alle­ged tran­si­ti­on from the law of the jungle to civi­li­sa­ti­on as well as a cri­tic of an American self-image that only ser­ves its­elf. Paradoxically, it’s the magic of cine­ma invo­ked in the film that con­tri­bu­tes to this (self-)disenchantment of America via its own spe­ci­fic tech­ni­ques and the help of one of its grea­test magi­ci­ans. And in doing so crea­tes a won­derful­ly com­plex cine­ma­tic memo­ri­al to both the USA and sto­rytel­ler and actor Fonda – the pre­si­dent that never was.

Credits:

AT/DE 2024, 184 Min., engl./dt. Originalfassung mit deut­schen und eng­li­schen Untertiteln
Regie: Alexander Horwath
Kamera & Schnitt: Michael Palm

Trailer:

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Sorry, this ent­ry is only available in Deutsch.

Ein Film von Mo Harawe.

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Der Eröffnungsfilm des letz­ten Afrikamera-Filmfestivals hat vie­le über­ra­schen­de Aspekte, ohne Wundertüte zu sein. Trotz Bürgerkrieg und pre­kä­rem Leben im Postkolonialismus geht es ruhig zu, die Sprache ist ein­fach und der Ton lako­nisch. Die drei Mitglieder einer unfrei­wil­li­gen Patchworkfamilie im Dorf Paradise in Somalia haben ihre eige­nen Sorgen. Mamargades Job als tra­di­tio­nel­ler Leichenbestatter wird bald von Maschinen über­nom­men, sei­ne Schwester Araweelo lebt in Scheidung und muss sich neu ori­en­tie­ren, und Ziehsohn Cigaal wird wegen Lehrermangels aufs Internat geschickt, was er nicht will, und wofür auch eigent­lich kein Geld da ist.
Der soma­lisch-öster­rei­chi­sche Drehbuchautor und Regisseur Mo Harawe lie­fert mit sei­nem Debütfilm einen sel­te­nen Einblick in ein Land, das kaum je auf der gro­ßen Leinwand zu sehen ist.
„Doch trotz der zahl­rei­chen per­sön­li­chen Rückschläge, die Harawe fast neben­bei in einen grö­ße­ren, poli­ti­schen Kontext ein­bet­tet, ist The Village Next to Paradise kei­ne Leidenspassion. Bild und Ton stre­ben dem ent­ge­gen: Die Primärfarben leuch­ten vor dem san­di­gen Hintergrund, Musik wird in Form von Liedern aus der Region sehr gezielt ein­ge­setzt. … Weltkino im bes­ten Sinn. Harawe gibt Einblicke in das Leben in einer Gegend, das so bis­lang kaum zu sehen war. Das gelingt ihm ohne Ausstellen von Fremdheit, Elend oder Sentimentalität. Fast sind sei­ne Charaktere zu resi­li­ent für das Leben in einer Wirklichkeit, in der eine Frau Worte sagen kann wie: ‚Es hat kei­nen Sinn, Kinder zu bekom­men. Sie haben kei­ne Zukunft und ster­ben jung.‘“
Valerie Dirk, Der Standard

​THE VILLAGE NEXT TO PARADISE ist der ers­te soma­li­sche Film, der jemals in der pres­ti­ge­träch­ti­gen Sektion „Un Certain Regard“ in Cannes gezeigt wurde.

Credits:

DE/FR/AU/SO 2024, 133 Min., Somali OmU
Regie: Mo Harawe
Kamera: Mostafa El Kashef
Schnitt: Joana Scrinzi, aea
mit Ahmed Ali Farah, Anab Ahmed Ibrahim, Ahmed Mohamud Saleban

Trailer

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A film by Thomas Riedelsheimer. In English and German with German and English subtitles.

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Light is a fasci­na­ting phe­no­me­non. Without light, the­re would be no cine­ma, no film – and no life. So light is at the ori­gin of ever­y­thing, and yet it remains invi­si­ble to the eye until it hits mat­ter. This moment is – quite lite­ral­ly – the start­ing point of Thomas Riedelsheimer’s latest work, for the spring­time spec­ta­cle of rain­bow shreds in the cine­ma­to­grapher and docu­men­ta­ry filmmaker’s flat beca­me the start­ing point of a search for the ori­gin of the images we form of this world. For this quest he dived deep into two sphe­res that seem to fol­low dif­fe­rent laws but always stri­ve to fathom the magi­cal: phy­sics and art.
An intellec­tu­al and poe­tic ping pong game evol­ves bet­ween rese­ar­chers from the Max Planck Institute in Erlangen and the “Extreme Light Group” of the University of Glasgow as well as inter­na­tio­nal­ly renow­ned artists such as Ruth Jarman, Joe Gerhardt, Julie Brook, Johannes Brunner and Raimund Ritz. In its cour­se, the various per­spec­ti­ves on light lead to new insights on all sides that would hard­ly have been achie­ved wit­hout this metho­di­cal cross-over: about laser power and colour pig­ments, about black holes and floa­ting sculp­tures. In brief moments, the unin­itia­ted may even get some idea of the laws of quan­tum phy­sics, gene­ral­ly con­side­red impos­si­ble to visualise.

Luc-Carolin Ziemann

Credits:

DE/GB 2024, 99 Min., engl./dt. Originalfassung mit deut­schen und eng­li­schen Untertiteln
Regie, Kamera, Schnitt: Thomas Riedelsheimer
Musik: Fred Frith, gab­by flu­ke-mogul

Trailer:

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A film by Clint Eastwood. In English with German subtitles.

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Family man Justin Kemp who, while ser­ving as a juror in a high pro­fi­le mur­der tri­al, finds hims­elf strugg­ling with a serious moral dilemma…one he could use to sway the jury ver­dict and poten­ti­al­ly con­vict-or free-the wrong killer.

Credits:

US 2024, 114 Min., engl. OmU
Regie: Clint Eastwood
Kamera: Yves Bélanger
Schnitt: Joel Cox, David Cox
mit: Nicholas Hoult, Toni Collette, J.K. Simmons, Zoey Deutch, Kiefer Sutherland, Francesca Eastwood, Chris Messina

Trailer:

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A film by Désirée Nosbusch. In English with German subtitles.

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Once mar­ried to each other, Lucas and Edith have been estran­ged for ten years, ever sin­ce Lucas left. At Edith’s request, they meet at the ceme­tery whe­re their only child is buried. During a long wait, their con­ver­sa­ti­on pro­gres­ses, revi­si­ting their shared past and rai­sing new pro­s­pects for their future. .

Credits:

LU/NL/GB 2024, 90 Min., engl. OmU
Regie: Désirée Nosbusch
Kamera: Judith Kaufmann
Schnitt: Michiel Reichwein
mit: Tim Roth, Trine Dyrholm

Trailer:

Im Kino mit deut­schen Untertiteln.

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A film by Jesse Eisenberg. In English with German subtitles.

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A Real Pain fol­lows mis­mat­ched cou­sins David and Benji who reu­ni­te for a tour through Poland to honor their bel­oved grand­mo­ther. The adven­ture takes a turn when the odd cou­ple’s old ten­si­ons resur­face against the back­drop of their fami­ly history.

Credits:

US/PL 2024, 90 Min., engl. OmU
Regie: Jesse Eisenberg
Kamera: Michael Dymak
Schnitt: Robert Nassau
mit Jesse Eisenberg, Kieran Culkin, Will Sharpe, Jennifer Grey, Kurt Egyiawan, Liza Sadovy, Daniel Oreskes 

Trailer:

Im Kino mit deut­schen Untertiteln.

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A film by Thomas Riedelsheimer. In English and German with German and English subtitles.

[Credits] [Tickets & Termine] [Trailer]

Light is a fasci­na­ting phe­no­me­non. Without light, the­re would be no cine­ma, no film – and no life. So light is at the ori­gin of ever­y­thing, and yet it remains invi­si­ble to the eye until it hits mat­ter. This moment is – quite lite­ral­ly – the start­ing point of Thomas Riedelsheimer’s latest work, for the spring­time spec­ta­cle of rain­bow shreds in the cine­ma­to­grapher and docu­men­ta­ry filmmaker’s flat beca­me the start­ing point of a search for the ori­gin of the images we form of this world. For this quest he dived deep into two sphe­res that seem to fol­low dif­fe­rent laws but always stri­ve to fathom the magi­cal: phy­sics and art.
An intellec­tu­al and poe­tic ping pong game evol­ves bet­ween rese­ar­chers from the Max Planck Institute in Erlangen and the “Extreme Light Group” of the University of Glasgow as well as inter­na­tio­nal­ly renow­ned artists such as Ruth Jarman, Joe Gerhardt, Julie Brook, Johannes Brunner and Raimund Ritz. In its cour­se, the various per­spec­ti­ves on light lead to new insights on all sides that would hard­ly have been achie­ved wit­hout this metho­di­cal cross-over: about laser power and colour pig­ments, about black holes and floa­ting sculp­tures. In brief moments, the unin­itia­ted may even get some idea of the laws of quan­tum phy­sics, gene­ral­ly con­side­red impos­si­ble to visualise.

Luc-Carolin Ziemann

Credits:

DE/GB 2024, 99 Min., engl./dt. Originalfassung mit deut­schen und eng­li­schen Untertiteln
Regie, Kamera, Schnitt: Thomas Riedelsheimer
Musik: Fred Frith, gab­by flu­ke-mogul

Trailer:

nach oben

A film by Clint Eastwood. In English with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Family man Justin Kemp who, while ser­ving as a juror in a high pro­fi­le mur­der tri­al, finds hims­elf strugg­ling with a serious moral dilemma…one he could use to sway the jury ver­dict and poten­ti­al­ly con­vict-or free-the wrong killer.

Credits:

US 2024, 114 Min., engl. OmU
Regie: Clint Eastwood
Kamera: Yves Bélanger
Schnitt: Joel Cox, David Cox
mit: Nicholas Hoult, Toni Collette, J.K. Simmons, Zoey Deutch, Kiefer Sutherland, Francesca Eastwood, Chris Messina

Trailer:

nach oben

A film by Désirée Nosbusch. In English with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Once mar­ried to each other, Lucas and Edith have been estran­ged for ten years, ever sin­ce Lucas left. At Edith’s request, they meet at the ceme­tery whe­re their only child is buried. During a long wait, their con­ver­sa­ti­on pro­gres­ses, revi­si­ting their shared past and rai­sing new pro­s­pects for their future. .

Credits:

LU/NL/GB 2024, 90 Min., engl. OmU
Regie: Désirée Nosbusch
Kamera: Judith Kaufmann
Schnitt: Michiel Reichwein
mit: Tim Roth, Trine Dyrholm

Trailer:

Im Kino mit deut­schen Untertiteln.

nach oben