Category: archiv

Sorry, this ent­ry is only available in Deutsch.

Die 6. Kreuzberger Dokumentarfilmwoche steht vor der Tür!

30.8. – 5.9.2018 in den Kinos                                                      Gefördert durch:

• fsk-Kino am Oranienplatz
• Sputnik – Kino am Südstern

Vom Sprechen zum Lesen, zum Vorlesen, zum Schreiben, Diskutieren und Streiten, Berichten – Kommunikation ist ein gro­ßes Thema bei unse­rer dies­jäh­ri­gen Dokfilmwoche.

Aber auch Träume und Gewichtheben, har­te Arbeit, ein Geisterhus und gleich 2 x Tiere haben ihren Platz im Programm gefunden.

3 Previews (PUBLIC LIBRARY von Frederik Wiseman als Berliner Erstaufführung, SEESTÜCK von Volker Koepp, YOURS IN SISTERHOOD von Irene Luzstig), vie­le wei­te­re Berliner Premieren, sowie mit PIAZZA VITTORIO von Abel Ferrara eine deut­sche Erstaufführung sind zu entdecken.
Als Sondervorstellungen zei­gen wir die 4 Schwestern – LES QUATRE SŒURS von Claude Lanzmann., in der eng­li­schen OF bzw. mit eng­li­schen Untertiteln.

Termine und wei­te­re Infos auf der dok­film­wo­chen­sei­te und hier:

• noch kei­ne oder kei­ne mehr 

A film by Karim Moussaoui. In Arabic with German subtitles.

Algeria today. Past and pre­sent col­l­i­de in the lives of a new­ly wealt­hy pro­per­ty deve­lo­per, a young woman torn bet­ween the path of reason and sen­ti­ment and an ambi­tious neu­ro­lo­gist impe­ded by war­ti­me wrong­doings. Three sto­ries that plun­ge us into the human soul of a con­tem­po­ra­ry Arab society.
“Some of the best sce­nes lie in this midd­le sec­tion, which at times recalls Abbas Kiarostami’s THROUGH THE OLIVE TREES, with two young peo­p­le who, despi­te their mutu­al attrac­tion, keep repel­ling each other like magnets as they wan­der along the win­ding roads of the desert. In one stand­out moment, Djalil and Aicha escape into an emp­ty bar, whe­re the lat­ter per­forms a mar­ve­lous dance for an audi­ence of one. And later on, their pivo­tal meet-up gets hija­cked by a mar­ching band, as if the famous entr’acte from Leo Carax’s HOLY MOTORS found its way into the Algerian back­lands.” (Jordan Mintzer)

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Credits:
En atten­dant les hirondelles
Frankreich, Deutschland, Algerien, Katar 2017, 113 Min., arab. OmU
Regie: Karim Moussaoui
Kamera: David Chambille
Schnitt: Thomas Marchand
mit: Mohamed Djouhri, Sonia Mekkiou, Hania Amar, Mehdi Ramdani, Chawki Amari, Saadia Gacem, Hassan Kachach, Nadia Kaci, Samir El Hakim, Aure Atika

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Termine:

• noch kei­ne oder kei­ne mehr 

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A film by Xavier Legrand.  In French with German subtitles.

As their divorce comes through, Miriam and Antoine Besson have not­hing left to say to each other – what has still to be sett­led is now done through their lawy­ers. Caught in the midd­le are their aff­lic­ted child­ren, the young adult Joséphine and her youn­ger brot­her, Julien. The fami­ly court deci­des that both par­ents should get cus­t­ody of their son – a bit­ter pill for Miriam to swal­low, as she thinks her ex-hus­band is out of con­trol and dan­ge­rous. The situa­ti­on pro­ves par­ti­cu­lar­ly dif­fi­cult for Julien, who is forced to navi­ga­te both the emo­tio­nal world of his bel­oved mother and that of her polar oppo­si­te, his father. As the situa­ti­on beg­ins to esca­la­te, the boy tri­es ever­y­thing to pre­vent the worst from happening.
Director Xavier Legrand’s com­pel­ling and inten­se direc­to­ri­al debut dis­plays an extra­or­di­na­ry sen­se of dra­ma­tur­gy. What beg­ins as an authen­tic, sen­si­ti­ve fami­ly dra­ma deve­lo­ps into a high-ten­si­on thriller.

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Credits:
Jusqu’à la garde
Frankreich 2017, 94 Min., frz. OmU
Regie & Drehbuch Xavier Legrand
Kamera Nathalie Durand
Schnitt Yorgos Lamprinos
Mit
Léa Drucker (Miriam Besson)
Denis Ménochet (Antoine Besson)
Thomas Gioria (Julien Besson)
Mathilde Auneveux (Joséphine Besson)

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Termine:

• noch kei­ne oder kei­ne mehr 

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A film by Annekatrin Hendel. In German.

Since the late 1940s, the Brasches have been the per­fect fami­ly of par­ty offi­ci­als, living the German dream of socia­lism in the Soviet zone of occu­pa­ti­on. Horst Brasch, a pas­sio­na­te anti-fascist, is hel­ping to build an East German sta­te which his wife, Gerda, won’t con­sider home. Their son Thomas is a bud­ding lite­ra­ry star. Like his father, he dreams of a more just world, but like youn­ger brot­hers Peter and Klaus, he is cri­ti­cal of the way in which socia­lism has been imple­men­ted. As they do ever­y­whe­re else, the gene­ra­ti­ons clash in East Germany in 1968. Horst turns Thomas over to the aut­ho­ri­ties — trig­ge­ring the end of his own care­er in the pro­cess. After 1989, socia­list dreams of any kind are no lon­ger of value. Director Annekatrin Hendel deli­vers a por­trait of three gene­ra­ti­ons of Brasches as a micro­c­osm of socie­tal ten­si­ons being car­ri­ed out on a lar­ge sca­le — bet­ween East and West, art and poli­tics, com­mu­nism and reli­gi­on, love and betra­y­al, uto­pia and self-destruction.

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Credits:
D 2018, 103 Min.,
Buch und Regie: Annekatrin Hendel
Kamera: Thomas Plenert, Martin Farkas
Buch und Montage: Jörg Hauschild
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Termine:

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A film by Denis Côté. In French with German subtitles.

Jean-François, Ronald, Alexis, Cédric, Benoit and Maxim are the main cha­rac­ters in TA PEAU SI LISSE, an inti­ma­te por­tra­y­al of a group of “Supermen”. Despite the men fin­ding them­sel­ves at dif­fe­rent points in their lives and care­ers, they all share an obses­si­on with their bodies, meti­cu­lous­ly honed and in com­pe­ti­ti­on with each other. Their dai­ly lives are caught up in a maso­chi­stic and nar­cis­si­stic deli­ri­um, aided by extre­me die­ting and exhaus­ting work­outs. But what dri­ves the cha­rac­ters to push them­sel­ves to the limit?
Rather than tack­le the sub­ject head-on, Denis Côté shows us the absur­di­ty of com­ple­te­ly sur­ren­de­ring your body and soul to the pur­su­it of self-repre­sen­ta­ti­on, to the “super me”. But TA PEAU SI LISSE is not a film about seduc­ti­ve moments in the typi­cal sen­se of the word, despi­te clo­se-ups that are so extre­me it’s as though the direc­tor lite­ral­ly wants to get under the skin of the cha­rac­ters. Despite the lay­ers of mus­cle and fle­sh, what counts in this film is the sin­ce­ri­ty of the moment. The film is an ode to the fra­gi­li­ty of human exis­tence. (Muriel Del Don)

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Credits:
Kanada, Schweiz, Frankreich  2017, 94 Min., franz. OmU
Regie: Denis Côté 
Kamera: François Messier-Rheault 
Schnitt: Nicolas Roy 
mit: Alexis Légaré , Benoit Lapierre , Cédric Doyon , Jean-François Bouchard , Ronald Yang , Maxim Lemire

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Termine:

• noch kei­ne oder kei­ne mehr 

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TA PEAU SI LISSE – Bande-annon­ce from Filmtage Tübingen on Vimeo.

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A film by Gus van Sant. In eng­lish with ger­man subtitles

John has a pen­chant for off-colour jokes – and a drin­king pro­blem. And so, when some­bo­dy he met at a par­ty sug­gests they go on an all-night ben­der in L.A. he sim­ply can’t refu­se. But after fal­ling asleep in a drun­ken stu­por on his drin­king buddy’s pas­sen­ger seat, he wakes up the next mor­ning in hos­pi­tal, a quad­ri­ple­gic. Becoming a wheel­chair user for life at the age of 21, he now requi­res every last drop of his sen­se of humour to redis­co­ver mea­ning in his exis­tence. He is aided by Annu who brings back his lust for life, as well as Donny, a hip­pie who­se uncon­ven­tio­nal Alcoholics Anonymous mee­tings draw tog­e­ther peo­p­le from all walks of life and help them see things from a who­le new per­spec­ti­ve. John dis­co­vers beau­ty and humour in the depths of human expe­ri­ence and uses his artis­tic talent to turn the­se dis­co­veries into bril­li­ant­ly obser­ved cartoons.
Gus Van Sant’s bio­pic is based on the memoirs of car­too­nist John Callahan. This is a ten­der, melan­cho­ly yet hope-fil­led and life-affir­ming fic­tion­a­li­sed por­trait of a life of limi­ta­ti­ons. As in many of his films, here too Van Sant addres­ses the search for iden­ti­ty in the envi­rons of social sub­cul­tures and unu­su­al milieus.

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Credits:
Don’t Worry, He Won’t Get Far on Foot
USA 2018, 113 Min., engl. OmU
Regie, Buch: Gus Van Sant
Kamera: Christopher Blauvelt
Schnitt: Gus Van Sant, David Marks
Mit:
Joaquin Phoenix (John Callahan)
Jonah Hill (Donny)
Rooney Mara (Annu)
Jack Black (Dexter)
Mark Webber (Mike)
Udo Kier (Hans)
Carrie Brownstein (Suzanne)
Beth Ditto (Reba)
Kim Gordon (Corky)

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Termine:

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A film by Eran Riklis.
In eng­lish and hebrew with ger­man subtitles.

Two women who beco­me the match ball of poli­ti­cal power inte­rests: the Lebanese infor­mer Mona and the Israeli Mossad agent Naomi who was sent to pro­tect Mona until she reco­vers from pla­s­tic sur­gery for her new iden­ti­ty. The two women, who have a lot more in com­mon than it at first may seem, spend two weeks tog­e­ther in a secret apart­ment in Hamburg. A safe­house. No one saw what was coming, no one knew that the­se two sup­po­sedly quiet weeks would turn into a night­ma­re. A vexa­tious game of tre­ason, loyal­ty and decis­i­ons which are made that are not their own, put the women’s rela­ti­onship of mutu­al curio­si­ty and sus­pi­ci­on to the test: what makes life worth living and who, in the end, can real­ly be trusted?

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Credits:
Deutschland/Frankreich/Israel 2017, 93 min., engl., hebr. OmU
Drehbuch und Regie: Eran Riklis
KAMERA – Sebastian Edschmid
SCHNITT – Richard Marizy
mit: Golshifteh Farahani, Neta Riskin, Yehuda Almagor, Doraid Liddawi, David Hamade, August Wittgenstein, Mark Waschke
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Termine:

• noch kei­ne oder kei­ne mehr 

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A film by Juliana Rojas & Marco Dutr. In Portuguese with German subtitles.

Clara, a lonely nur­se from the out­skirts of São Paulo, is hired by mys­te­rious and wealt­hy Ana as the nan­ny for her unborn child. The two women deve­lop a strong bond, but a fateful night chan­ges their plans.

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Credits:
As Boas Maneiras
Brasilien, Frankreich 2017, 135 Min., por­tu­gie­si­sche OmU 
Regie: Juliana Rojas , Marco Dutra 
Kamera: Rui Poças 
Schnitt: Caetano Gotardo 
mit: Isabél Zuaa , Marjorie Estiano , Miguel Lobo , Cida Moreira , Andrea Marquee
frei­ge­ge­ben ab 12 jahren
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Termine:

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Gute Manieren – Trailer für die offi­zi­el­le Website from Salzgeber & Co. Medien GmbH on Vimeo.

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A film by  Carla Simón. In Catalan with German subtitles.

‘Where are you going?’ · ‘I’m going back home.’ · ‘Why?’ · ‘Because no one loves me here.’ · ‘I love you.’ 

Six-year-old Frida looks on in silence as the last objects from her decea­sed mother’s apart­ment are pla­ced in boxes. In a send-off, her fri­ends fol­low her car on foot waving good­bye. Although her uncle’s fami­ly wel­co­mes her with open arms, it’s only very slow­ly that Frida beg­ins to get used to her new home in the coun­try­si­de, far away from her nati­ve Barcelona. Moments of youthful exu­berance give way to rumi­na­ti­ve detach­ment. At night, Frida prays for her mother, who she mis­ses hor­ri­bly, while during the day she attempts to find her place in this new life. In spi­te of its sum­me­ry hues, the serious under­to­nes of this coming of age dra­ma, who­se gent­le images attempt to come to terms with the con­se­quen­ces of an unpre­dic­ta­ble ill­ness, pro­ve to be extra­or­di­na­ri­ly moving.

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OT: Estiu 1993, 
Spanien 2016, 96 Min., kata­la­ni­sche OmU
Buch & Regie: Carla Simón
Kamera: Santiago Racaj
Schnitt: Didac Palou, Ana Pfaff
mit: Laia Artigas, Paula Robles, Bruno Cusí, David Verdaguer, Fermi Reixacha

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A film by Margarethe von Trotta.

In honor of the filmmaker‘s 100th bir­th­day Margaretha von Trotta and her son Felix Moeller made a film about Bergmann‘s films and his influence on other directors.

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Credits:
D 2018, 98 Min., OmU
Regie: Margarethe von Trotta 
Co-Regie: Felix Moeller, Bettina Böhler
Kamera: Börres Weiffenbach, Florian Lampersberger
Schnitt: Bettina Böhler
mit: Liv Ullmann, Daniel Bergman, Ruben Östlund, Mia Hansen-Løve, Carlos Saura, Olivier Assayas

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Termine:

• noch kei­ne oder kei­ne mehr 

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