Category: archiv

A film by Mariano Llinás.  In seve­ral lan­guages with German subtitles.

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A film that pays tri­bu­te to the histo­ry of cine­ma, via six epi­so­des inspi­red by the dif­fe­rent forms of cine­ma­tic art. Each epi­so­de has a gen­re. The first epi­so­de could be regard­ed as a B movie, the kind that Americans used to shoot with their eyes clo­sed and now just can’t shoot any­mo­re. The second epi­so­de is a sort of musi­cal with a touch of mys­tery. The third epi­so­de is a spy movie. The fourth epi­so­de is dif­fi­cult to descri­be. The fifth one is inspi­red by an old French film. The last one is about some cap­ti­ve women in the 19th cen­tu­ry who return from the desert, from the Indians, after many years.

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AR 2018,  808 Min.,  (Akt 1: 167 Min., Akt 2: 59 Min., Akt 3: 106 Min., Akt 4: 112 Min., Akt 5: 126 Min., Akt 6: 99 Min., Akt 7: 117 Min., Akt 8: 107 Min.), Spanisch/Französisch/Englisch/Russisch/Deutsch/Schwedisch/Italienische OmU,
Regie: Mariano Llinás
Kamera: Agustín Mendilaharzu
Schnitt: Alejo Moguillansky, Agustín Rolandelli

mit Elisa Carricajo, Pilar Gamboa, Valeria Correa, Laura Paredes

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• noch kei­ne oder kei­ne mehr 

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A film by Carlos Reygadas. In Spanish with German subtitles.

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“Our Time gores mas­cu­li­ni­ty on its own horns. Carlos Reygadas lays bare mas­cu­li­ne patho­lo­gy with a typi­cal­ly bra­vu­ra and extra­or­di­na­ri­ly unspa­ring dis­sec­tion of love and mar­ria­ge, cas­ting hims­elf and his spou­se, Natalia López, at the heart of the pie­ce. Reygadas con­ducts exis­ten­ti­al inves­ti­ga­ti­ons into the human capa­ci­ty for altru­ism, the cor­re­la­ti­on bet­ween love and pos­ses­si­on, and the uni­ver­sal­ly devas­ta­ting rami­fi­ca­ti­ons of patri­ar­chal cul­tu­re. It makes for a relent­less, har­ro­wing vie­w­ing expe­ri­ence but also, ulti­m­ate­ly, a cathar­tic one. As such, Reygadas and López’s wil­ling­ness to lay them­sel­ves bare in this man­ner, wit­hout embel­lish­ment or faci­le abso­lu­ti­on, repres­ents a deep­ly gene­rous ges­tu­re.” (Giovanni Marchini Camia, Sight and Sound)

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Nuestro tiem­po
MX/FR/DE/DK/SE 2018, 175 Min., spa­ni­sche OmU
Regie, Buch: Carlos Reygadas
Kamera: Diego Garcia
Schnitt: Natalia López
mit: Carlos Reygadas, Natalia López, Phil Burgers, Yago Martinez, Eleazar Reygadas, Rut Reygadas

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• noch kei­ne oder kei­ne mehr 

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A film by Vahid Jalilvand,  In Farsi with German subtitles.

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In the tried and tes­ted tra­di­ti­on of Iranian art­house cine­ma (think of the work of Abbas Kiarostami and Asghar Farhadi), direc­tor and co-wri­ter Vahid Jalilvand gra­du­al­ly con­fronts the view­er with a moral dilem­ma. It’s undoub­ted­ly about the con­trast bet­ween good and evil, but that doesn’t make it imme­dia­te­ly clear what the best cour­se of action is.
A usual­ly strict coro­ner finds the body of an acquain­tance in the mor­tua­ry. His col­le­ague has alre­a­dy deter­mi­ned the cau­se of death, but he has ano­ther pos­si­ble expl­ana­ti­on. However, to reve­al the truth would mean beco­ming per­so­nal­ly invol­ved in the case. Moreover, it could have unjust con­se­quen­ces for tho­se involved.
Jalilvand uses a blea­ched colour palet­te, lea­ves ple­nty of room for his natu­ra­li­sti­cal­ly acting prot­ago­nists and builds the ten­si­on gra­du­al­ly with more and more new com­pli­ca­ti­ons. Best Film and Best Actor (Amir Aghaee) pri­ze­win­ner in the Orizzonti pro­gram­me at the Venice Film Festival.

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Bedoone tarikh, bedoo­ne emza 
IR 2017, 100 Min., Farsi OmU 
Regie: Vahid Jalilvand 
Kamera: Peyman Shadmanfar 
Schnitt: Vahid Jalilvand, Sepehr Vakili 
mit: Navid Mohammadzadeh, Amir Agha’ee, Hediyeh Tehrani, Zakiyeh Behbahani

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• noch kei­ne oder kei­ne mehr 

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Im Kino in Farsi mit deut­schen Untertitlen.

 

A film by Cyril Schäublin. In SwissGerman with German subtitles.

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Alice works in a call­cen­ter in the out­skirts of Zurich, sel­ling inter­net sub­scrip­ti­ons and insu­rance deals to stran­gers on the other end of the line. After work she walks through the city, which seems to func­tion wit­hout any fric­tion. Inspired by her job, she calls lonely grand­mo­thers and pre­tends to be their grand­d­augh­ter in urgent need of money. As she quick­ly makes a for­tu­ne with this trick, the film por­trays and explo­res various places and peo­p­le in the city of Zurich, all stran­ge­ly con­nec­ted to Alice’s deed.

 

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CH 2018, 71 Min., OmU,
Regie & Buch: Cyril Schäublin
Kamera: Silvan Hillmann
Schnitt: Cyril Schäublin, Silvan Hillmann
mit: Sarah Stauffer, Nikolai Bosshardt, Fidel Morf

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• noch kei­ne oder kei­ne mehr 

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A film by Nikolaus Geyrhalter.
In English, German, Spanish, Italian, Hungarian with German subtitles

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A por­trait of the Earth in the Anthropocene – at seven loca­ti­ons that humans have trans­for­med on a grand sca­le: Entire moun­ta­ins being moved in California, a tun­nel being sli­ced through rock at the Brenner Pass, an open-cast mine in Hungary, a marb­le quar­ry in Italy, a cop­per mine in Spain, the salt mine used to store radio­ac­ti­ve was­te in Wolfenbüttel and a tar sands land­scape in Canada. Initially shown from abo­ve as abs­tract pain­tings, the­se ter­rains are sub­se­quent­ly explo­red on the ground: The film wea­ves tog­e­ther obser­va­tio­nal foo­ta­ge of machi­nes in ope­ra­ti­on with con­ver­sa­ti­ons with the workers. Alongside state­ments on work pro­ces­ses, envi­ron­men­tal dama­ge and tech­no­lo­gi­cal chan­ge, Erde makes this con­s­truc­ted world visi­ble in uni­que fashion by subt­ly paring it down: the piles of grey mat­ter, hills and moun­ta­ins. The black­ness and the cracks. The san­dy land­scapes, criss-crossed by an array of mecha­ni­cal devices that scuttle about like cater­pil­lars or worms. The dimen­si­ons are gigan­tic, the pro­por­ti­ons out of con­trol; the world has slip­ped from humanity’s grasp. “There is always a big­ger machi­ne, a big­ger engi­ne and when all fails the­re is dyna­mi­te. We always win.” Or do we?

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AU 2019, 114 Min., 
Regie, Buch, Kamera: Nikolaus Geyrhalter
Schnitt: Niki Mossböc 

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• noch kei­ne oder kei­ne mehr 

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A film by Susanne Heinrich. In German with English subtitles.

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A girl roams through the city loo­king for a place to sleep. Along the way she meets young mothers who cele­bra­te mother­hood reli­gious­ly, goes home with an abs­ti­nent exis­ten­tia­list for whom sex is “just ano­ther mar­ket,” and waits for the end of capi­ta­lism in a drag bar. Her attempt to wri­te a book doesn’t make it bey­ond the first sen­tence of the second chap­ter, and she finds no space bet­ween art gal­le­ries, yoga stu­di­os and the beds of stran­gers. Instead of try­ing to fit in, she starts regar­ding her depres­si­on as a poli­ti­cal issue. Through 15 of the girl’s humo­rous encoun­ters, Aren’t You Happy? explo­res our post-modern socie­ty bet­ween pre­ca­ri­ty and self-mar­ke­ting, seri­al mono­ga­my and neo-spi­ri­tua­li­ty, dis­il­lu­sionment and the pres­su­re to be hap­py. Susanne Heinrich’s debut film brings tog­e­ther pop and theo­ry, femi­nism and humour, and gives you tons of quo­tes you’ll want to see on adver­ti­sing bill­boards in neon letters.

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Deutschland 2019, 80 Min., OmeU
Regie & Buch: Susanne Heinrich
Kamera: Agnesh Pakozdi
Schnitt: Susanne Heinrich, Benjamin Mirguet
mit: Marie Rathscheck, Nicolai Borger, Malte Bündgen, Dax Constantine, Monika Freinberger, Yann Grouhel, Julian Fricker, Nicolo Pasetti

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• noch kei­ne oder kei­ne mehr 

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Das melan­cho­li­sche Mädchen – Trailer from Salzgeber & Co. Medien GmbH on Vimeo.

 

 

A film by Lee Chang-dong. In Korean with German subtitles.

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“Male rage bla­zes a chil­ling trail on the Korean bor­der. Sex, envy and pyro­ma­nia make for a rive­ting mys­tery in Lee Chang-dong’s mas­terful­ly craf­ted Murakami adapt­a­ti­on. Lee Chang-dong’s Burning is a super­b­ly shot and sen­suous­ly scored movie, a mys­tery thril­ler about obses­si­ve love taken from a short sto­ry by Haruki Murakami. It’s a psy­cho­lo­gi­cal dra­ma set in the modern con­su­me­rist Korea of the call­ous Gangnam-style rich and poor young peo­p­le who often go invi­si­bly to ground, pur­sued by cre­dit-card debt.“ (Peter Bradshaw, The Guardian)

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Beoning
Südkorea 2018, 148 Min., Koreanische OmU
Regie: Lee Chang-dong
Buch: Haruki Murakami, Lee Chang-dong, Jungmi Oh
Kamera: Kyung-Pyo Hong
Schnitt: Da-won Kim, Hyun Kim
mit: Ah-in Yoo, Steven Yeun, Jong-seo Jeon, Joong-ok Lee, Ja-Yeon Ok

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A film by Olivier Assayas. In French with German subtitles.

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Typically French, the well-hee­led intellec­tu­als in Non-Fiction: if they’re not tal­king one ano­ther’s ears off, they’re jum­ping into bed tog­e­ther. Olivier Assayas has no trou­ble at all making a fresh, fun­ny film from such mate­ri­al. His cha­rac­ters may come over as pom­pous – and at times insuf­fera­ble – but this come­dy dra­ma is any­thing but.

Publisher Alain (Guillaume Canet) and his wife Selena (Juliette Binoche) are doing their best to adapt to modern life. He is forced to coope­ra­te in the digi­ti­sa­ti­on of the publi­shing sec­tor, while she – once a stage actress – is acting in a long-run­ning poli­ce series on tele­vi­si­on. With their fri­ends, who include aut­hor Léonard (Vincent Macaigne), they dis­cuss the chan­ges taking place in their working lives. But is ever­y­thing not just stay­ing the same, real­ly? Assayas seems incre­asing­ly cri­ti­cal of his prot­ago­nists; they are far too wrap­ped up in them­sel­ves to see whe­re they should be heading.

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Doubles vies
Frankreich 2018, 107 Min., frz. OmU
Regie +Buch: Olivier Assayas
Kamera: Yorick le Saux
Schnitt. Simon Jacquet
mit: Juliette Binoche, Guillaume Canet, Vincent Macaigne, Nora Hamzawi

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• noch kei­ne oder kei­ne mehr 

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A film by Gabriel Abrantes + Daniel Schmidt. In Portuguese with ger­man subtitles.

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Diamantino, the world’s pre­mie­re soc­cer star loses his spe­cial touch and ends his care­er in dis­grace. Searching for a new pur­po­se, the inter­na­tio­nal icon sets on a deli­rious odys­sey whe­re he con­fronts neo-fascism, the refu­gee cri­sis, gene­tic modi­fi­ca­ti­on, and the hunt for the source of genius.

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Portugal, Frankreich, Brasilien 2018, 92 Minuten
Regie: Gabriel Abrantes, Daniel Schmidt
Drehbuch: Gabriel Abrantes, Daniel Schmidt
mit: Carla Maciel, Carloto Cotta, Anabela Moreira, Filipe Vargas, Margarida Moreira, Cleo Tavares, Vítor de Almeida, Joana Barrios, Abílio Bejinha, Chico Chapas, Hugo Santos Silva

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• noch kei­ne oder kei­ne mehr 

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