As the star player at an elite tennis academy, Julie’s life revolves around the game she loves. When her coach falls under investigation and is suddenly suspended, all of the club’s players are encouraged to speak up. But Julie decides to keep quiet…
Credits:
Julie Keeps Quiet BE/SE 2024, 100 Min., Niederländisch-französische OmU Regie: Leonardo van Dijl Kamera: Nicolas Karakatsanis Schnitt: Bert Jacobs mit: Tessa Van den Broeck, Grace Biot, Alyssa Lorette, Ruth Becquart, Koen De Bouw, Pierre Gervais, Claire Bodson und Laurent Caron
As the star player at an elite tennis academy, Julie’s life revolves around the game she loves. When her coach falls under investigation and is suddenly suspended, all of the club’s players are encouraged to speak up. But Julie decides to keep quiet…
Credits:
Julie Keeps Quiet BE/SE 2024, 100 Min., Niederländisch-französische OmU Regie: Leonardo van Dijl Kamera: Nicolas Karakatsanis Schnitt: Bert Jacobs mit: Tessa Van den Broeck, Grace Biot, Alyssa Lorette, Ruth Becquart, Koen De Bouw, Pierre Gervais, Claire Bodson und Laurent Caron
Dreaming of escape from the bleakness of their industrial hometown, two 13-year-olds, Marija and Kristina, form a unique bond at a local modeling school, where the promise of a better life pushes girls to violate their bodies in increasingly extreme ways. „Through the story of young girls navigating toxic landscapes, I wanted to explore the concept of the human body – the body as a project, currency, an object of desire, the body as a source of pain and magic.” Saulė Bliuvaitė
Conservative politician Mathilda is actually in favor of strictly guarded EU external borders. Things become all the more difficult for her when she is asked to help her old friend Richard accommodate Malik, who has illegally entered the country from Morocco. Mathilda’s second-generation assistant Amina also questions her own position when Malik becomes the target of a terrorist investigation following a bomb attack.
A therapist whose interests lie in alternative ways to help the sick and infirm is forced to balance the demands of her professional life with those of her ageing parents and older brother, in Tim Ellrich’s sensitive but uncompromising drama.
Holle works as a spiritual healer, tending to clients with serious illnesses and chronic conditions. One of four siblings, she devotes much of her time to caring for her ageing parents, a commitment that strains her relationship with her partner. When her mother suffers a fall and is hospitalised, Holle faces mounting challenges, particularly in relation to her brother Sven, who has schizophrenia and has lived a secluded life in their parents’ attic for years.
Inspired by filmmaker Tim Ellrich’s own family experiences and shot on location at his childhood home, Im Haus meiner Eltern is an incisive exploration of the toll caregiving takes on families. Filmed in stark black and white, its visuals capture both the exhaustion of caregiving and the claustrophobia of lives bound by duty. Ellrich avoids easy judgments, instead offering a thoughtful reflection on how society treats the elderly and infirm and the friction these responsibilities create within families – from those who shoulder the burden to those who keep their distance. With empathy and an understated approach, Im Haus meiner Eltern, examines the unspoken tensions and quiet sacrifices that define family life under pressure.
Vanja Kaludjercic
Credits:
DE 2025, 95 Min, Regie: Tim Ellrich Kamera: Konstantin Pape Schnitt: Tobias Wilhelmer mit: Jenny Schily, Ursula Werner, Manfred Zapatka und Jens Brock
Zosias Körper ist etwas Besonderes. Nicht nur, dass er mit Tattoos übersät ist, er dient auch als Vorbild. Zosia hilft nämlich anderen Frauen, ein positives Verhältnis zu ihrem Körper zu entwickeln. Dann steigt sie in ihr altes Wohnmobil, fährt mit ihnen ins Grüne, greift in Wald und Feld zur Kamera und zeigt mit ihren Fotos, dass jeder Körper als Teil der Natur auf seine Weise schön ist. Die Frauen, die sich von ihr in ästhetischem Schwarz-Weiß ablichten lassen, teilen mit ihr nicht nur den Anblick ihrer unverhüllten Körper, sondern auch ihre Geschichten. Sie erzählen von Essstörungen, Bodyshaming, psychischen Problemen und sozialer Ablehnung.
Doch als wir Zosia näher kennenlernen, erfahren wir, dass auch sie sich ihre positive Einstellung zu ihrem Körper hart und schmerzvoll erarbeiten musste. Diese Frau, die anderen den Weg zu einem harmonischen Körpergefühl ebnet, ist keineswegs frei von Zweifeln. Ihre rastlose Lebensweise hat ihre Schattenseiten – sie verleiht keine Stabilität und erlaubt keine festen sozialen Bindungen. Irgendwann fühlt Zosia, dass sie sich entscheiden muss – weiter als Freigeist an wechselnden Orten anderen helfen oder doch sesshaft werden und sich mehr um das eigene psychische Wohl kümmern?
Michał Hytroś zeichnet – unterstützt von Karina Paciorkowskas Animationen – anhand der Aufs und Abs seiner Protagonistin und ihrer Kundinnen das Kollektivporträt einer Gesellschaft, die zwischen tradierten sozialen Rollen und postmodernen Lebenswelten zerrissen ist. Gleichzeitig zeigt er mit großer Empathie die Haarrisse im Weltbild seiner Hauptfigur. [Rainer Mende]
To tylko/aż ciało … albo krótki film o wolności / It’s only/Not Only a Body PL 2023 R/B/K: Michał Hytroś 82 min, OmeU S: Yakiv Komarynsky M: Magda Kramer & Tomasz Szkiela Veranstalter: Polnisches Institut Berlin in Kooperation mit dem fsk Kino
The film is far from a straightforward portrayal of its subject. It doesn’t just focus on good and noble feelings, nor does it fall into the sort of simplistic binaries that set the “purity” of people with disabilities against the cynicism of society. Simón is deceitful, more than happy to lie and unafraid to get his friends into trouble, yet they never judge or punish him nor label him as problematic. At home, where his mother’s goodwill has been exhausted, a sense of apathy has set in that threatens to usurp the obvious love she feels for him. Luis’ film smartly refrains from judging her, as she seems unable to find a solution to her son’s unexplained antics; she only watches in surprise as Simón speaks less and less, imitates physical tics and retreats into his own personal version of disability. Engrossing, and narrated with great intelligence and subtlety, the film layers nuance upon nuance in its suitably ambivalent portrait of the titular character. With another enigmatic, yet empathetic performance by up-and-coming actor Lorenzo Ferro, SIMÓNDELAMONTAÑA is a remarkable debut feature that dares to explore the murky waters of human behaviour. (Diego Lerer)
Two chimney sweeps living in monogamous, heterosexual marriages both end up in situations that challenge their views on sexuality and gender roles. One has a sexual encounter with another man, without himself experiencing it either as an expression of homosexual longings or infidelity. The other suddenly experiences nocturnal dreams in which he is seen as a woman. This confuses and disturbs him. He begins to wonder to what extent the gaze of others shapes his personality and whether there are aspects of himself that he has suppressed, thereby limiting himself. In Dag Johan Haugerud’s Sex, the chimney is swept before we get down to business. Whether hetero or homo, witty wordplay challenges normative images of men and society in modern urban Norway.
Credits:
OT: Sex DE 2023, 90 Min., norw. OmU Regie: Dag Johan Haugerud Kamera: Cecilie Semec Schnitt: Jens Christian Fodstad mit: Jan Gunnar Røise, Thorbjørn Harr, Siri Forberg, Birgitte Larsen
At 17, Johanne falls head over heels in love with her female teacher. In an attempt to capture this first crush, she pours her experiences onto paper with raw honesty. When her mother and grandmother discover her writings, their initial shock at the intimate descriptions gives way to admiration for their literary merit. The two older women begin to reflect on their own love lives, their pleasures and missed opportunities, and are reminded of the overwhelming sensation of first love; and of the longing for something more. Johanne’s grandmother, an established poet herself, feels both pride and unease at her granddaughter’s natural talent. But questions linger: What truly happened between Johanne and her teacher? Where does reality end and fiction begin? And should these deeply personal writings ever find their way to publication?
Golden Bear – Berlinale 2025
Credits:
NO 2024, 110 Min., norwegische OmU Regie: Dag Johan Haugerud Kamera: Cecilie Semec Schnitt: Jens Christian Fodstad mit: Ella Øverbye, Selome Emnetu, Ane Dahl Torp, Anne Marit Jacobsen
A Utopian design for sexuality, relationships and love in the 21st century. Marianne is a doctor based in Oslo. She longs for closeness with other people, but she’s fed up with her sex life being constantly analysed and questioned by the expectations of others. One evening, she meets Tor, a nurse and colleague, on a ferry. He tells her of the ferry trips he takes when he can’t sleep and his chance meetings with other men. Curious, Marianne starts exploring other designs for relationships, off the beaten track.
Credits:
Love NO 2024, 119 Min, Norwegische OmU Regie: Dag Johan Haugerud Kamera: Cecilie Semec Schnitt: Jens Christian Fodstad, mit: Andrea Bræin Hovig, Tayo Cittadella Jacobsen, Marte Engebrigtsen, Lars Jacob Holm, Thomas Gullestad
A few months after his release from Auschwitz and still in his striped jacket, Yechiel De-Nur sat down and started writing. After two weeks, he was reborn as Ka-Tzetnik, or “the man from the camps.” While the books that he wrote were translated into 32 languages and sold millions, the author himself hid behind the pseudonym. It wasn’t until the trial of Adolf Eichmann in 1961 that his true identity was revealed during his revelatory testimony where he described Auschwitz as “the other planet:” a place outside of human judgment. Years later, undergoing an experimental LSD treatment for trauma, he revisits his experience, imagining himself as an SS officer, and that changes everything. In this affecting documentary, the life of the mysterious and elusive author and his views on human behavior are examined in depth.
Credits:
The Return from the Other Plaent DE/IL 2023, 81 Min., englisch, hebräisch, jiddisch, niederländischOmU Regie: Assaf Lapid Kamera: Talia Tulik Galon, Jörg Adams Schnitt: Nohar Avigail Haseen, Assaf Lapid
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