Sorry, this ent­ry is only available in Deutsch.

Vom 10. –  17. September fin­det die­ses Jahr zum 20. Mal das größ­te pol­ni­sche Filmfestival außer­halb Polens statt (mehr, Katalog). Im fsk zei­gen wir alle sie­ben Wettbewerbsbeiträge und zwei Specials:

• vorbei 

A film by Juan Francisco Olea. In Spanish with German subtitles.

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Set in the extinct world of arti­san mining in North Chile, this neo wes­tern cen­ters the strug­gles and empower­ment of a young woman, fight­ing to keep the fami­ly busi­ness against patri­ar­chal struc­tures and the law of the jungle.

Credits:

CL/MX/UY/DE 2024, 83 Min., span. OmU
Regie: Juan Francisco Olea
Kamera: Sergio Armstrong
mit: Katalina Sánchez, Francisco Melo, Michael Silva

Trailer:

nach oben

A film by Cédric Klapisch. In French with German subtitles.

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United by the unex­pec­ted inhe­ri­tance of a house in Normandy, four estran­ged cou­sins dis­co­ver their fami­ly histo­ry. While explo­ring the house, left untouch­ed sin­ce the 1940s, they excava­te the life of their ances­tor, Adèle Vermillard, a 20 year old woman who lived the­re in 1895. The end of the 19th cen­tu­ry saw the birth of both pho­to­gra­phy and the Impressionist move­ment, which pro­found­ly chan­ged pain­ting.
Through back-and-forth jour­neys bet­ween 1895 and 2025, they find in the relics of the past what will help them bet­ter envi­si­on their own future.

Credits:

La venue de l’a­ve­nir
FR 2024, 124 Min., fran­zö­si­sche OmU
Regie: Cédric Klapisch
Kamera: Alexis Kavyrchine
Schnitt: Anne-Sophie Bion
mit: Suzanne Lindon, Vincent Macaigne, Cécile de France, Paul Kircher, Julia Piaton, Vassili Schneider, Vincent Perez 

Trailer:

nach oben

A film by Maren-Kea Freese. In German.

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Former power plant worker Wilma, who sur­vi­ved two poli­ti­cal sys­tems, faces a fresh start. After living her enti­re life in the rural lig­ni­te mining area (Ex-GDR), she left her vil­la­ge in the late 1990s when her world crum­bled. Escaping to Vienna, she wants to rebuild her life. Old dreams of a bet­ter socie­ty resur­face, and she embraces them with rene­wed ener­gy, deter­mi­ned to crea­te new paths for herself.

Credits:

DE 2025, 112 Min.,
Regie: Maren-Kea Freese
Kamera: Michael Kotschi
Schnitt: Andrea Muñoz
Darsteller*innen: Fritzi Haberlandt, Thomas Gerber, Stephan Grossmann, Xenia Snagowski, Katrin Schwingel, Isabel Schosnig

Trailer:

nach oben

A film by Mathieu Kassovitz. Re-release. In French with German subtitles.

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La Haine opens with a mon­ta­ge of news foo­ta­ge depic­ting urban riots in a ban­lieue in the com­mu­ne of Chanteloup-les-Vignes near Paris. In the after­math of the riots, a local man named Abdel Ichaha is gra­ve­ly inju­red in poli­ce cus­t­ody and is in inten­si­ve care. The riots esca­la­te, lea­ding to a sie­ge of the local poli­ce sta­ti­on and the loss of a poli­ce offi­ce­r’s revol­ver. The film fol­lows the lives of three fri­ends of Abdel, who are all young men from immi­grant fami­lies, over appro­xi­m­ate­ly twen­ty con­se­cu­ti­ve hours.

Vinz, a young Jewish man with an aggres­si­ve tem­pe­ra­ment, seeks reven­ge for Abdel’s con­di­ti­on. He har­bors a deep hat­red for all poli­ce offi­cers and secret­ly emu­la­tes Travis Bickle from Taxi Driver in front of his bath­room mir­ror. Hubert, an Afro-French boxer and small-time drug dea­ler, aspi­res to escape the ban­lieue and crea­te a bet­ter life for hims­elf. However, his boxing gym­na­si­um was des­troy­ed in the riots. Saïd, a young North African Muslim, acts as a media­tor bet­ween Vinz and Hubert who con­stant­ly argue.

The three fri­ends lead a direc­tion­less dai­ly rou­ti­ne and fre­quent­ly find them­sel­ves under poli­ce sur­veil­lan­ce. At a roof­top par­ty which is bro­ken up by the poli­ce, Vinz insults a plain­clo­thes poli­ce offi­cer. After the trio lea­ves, Vinz reve­als that he has dis­co­ver­ed the .44 Magnum revol­ver lost during the riot. He plans to use it to kill a poli­ce offi­cer if Abdel dies. While Hubert dis­ap­pro­ves, Vinz secret­ly takes the gun with him. They try to visit Abdel in the hos­pi­tal but are stop­ped by the poli­ce. Saïd is arres­ted after they aggres­si­ve­ly refu­se to lea­ve, but he is later released with the assis­tance of a poli­ce offi­cer who knows his brother.

A dis­agree­ment ari­ses bet­ween Vinz and Hubert regar­ding their per­spec­ti­ves on poli­cing and vio­lence, lea­ding them to part ways tem­po­r­a­ri­ly. Saïd accom­pa­nies Vinz, while Hubert brief­ly returns home. They reu­ni­te at ano­ther gathe­ring in the ban­lieue, which quick­ly des­cends into cha­os when Abdel’s brot­her attempts to mur­der a poli­ce offi­cer as an act of reven­ge. This trig­gers a con­fron­ta­ti­on with the poli­ce, and the group nar­row­ly escapes after Vinz almost shoots a riot offi­cer. They board a train to Paris, whe­re their inter­ac­tions with both fri­end­ly and hosti­le Parisians esca­la­te seve­ral situa­tions into dan­ge­rous confrontations.

In a public rest­room, they encoun­ter a Polish sur­vi­vor of the gulag who tells them a sto­ry about a man who fro­ze to death after he refu­sed to reli­e­ve hims­elf in public near the train and then fai­led to re-board in time. The trio is per­ple­xed by the mea­ning of the story.

Later, they visit Astérix, a fre­quent coca­i­ne user who owes money to Saïd. This visit leads to a vio­lent con­fron­ta­ti­on, as Astérix appears to force Vinz to play Russian rou­lette, alt­hough the gun is secret­ly unloa­ded. They encoun­ter sadi­stic plain­clo­thes poli­ce offi­cers who arrest Saïd and Hubert while Vinz mana­ges to escape. The poli­ce offi­cers ver­bal­ly and phy­si­cal­ly abu­se the duo befo­re impri­so­ning them until late at night, caus­ing the three fri­ends to miss the last train from Saint-Lazare sta­ti­on and spend the night on the streets.

After being kicked out of an art gal­lery and fai­ling to hot­wire a car, the trio takes shel­ter in a shop­ping mall. They hear from a news broad­cast that Abdel has died. They make their way to a roof­top, whe­re they insult skin­heads. However, they encoun­ter the same group of skin­heads who mer­ci­less­ly attack Saïd and Hubert. Vinz inter­ven­es, hol­ding one of the skin­heads at gun­point. Despite Hubert pushing Vinz to exe­cu­te him, Vinz hesi­ta­tes and ulti­m­ate­ly lets the skin­head go.

In the ear­ly mor­ning, the trio returns home, and Vinz hands the gun over to Hubert. Vinz and Saïd encoun­ter the offi­cer whom Vinz had insul­ted at the roof­top par­ty. The offi­cer sei­zes Vinz, threa­tening him with a loa­ded gun against his head. Hubert rus­hes to their aid, but the offi­cer acci­den­tal­ly dischar­ges his gun, kil­ling Vinz. A ten­se stand­off ensues bet­ween Hubert and the offi­cer, as Saïd clo­ses his eyes. A sin­gle gunshot is heard, lea­ving it unclear who fired the shot or who may have been struck.

This cli­ma­c­tic stand­off is accom­pa­nied by a voice-over of Hubert’s slight­ly modi­fied ope­ning lines („It’s about a socie­ty in free fall…”) and the recur­ring phra­se jus­qu’i­ci tout va bien („so far so good”). The film por­trays a micro­c­osm of French socie­ty’s des­cent from hosti­li­ty into sen­se­l­ess vio­lence, empha­si­zing that despi­te appearan­ces, all is not well and the future remains uncer­tain.
Wikipedia

Credits:

FR 1995, 98 Min., franz. OmU
Regie und Buch: Mathieu Kassovitz
Kamera: Pierre Aïm
Schnitt: Mathieu Kassovitz, Scott Stevenson
mit: Vincent Cassel, Hubert Kounde, Said Taghmaoui

Trailer:

nach oben

A film by Billy Shebar & David Roberts. In English with German subtitles.

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The pro­found cul­tu­ral influence of the com­po­ser, per­for­mer and inter­di­sci­pli­na­ry artist Meredith Monk is often over­loo­ked. As a fema­le artist, she had to fight for reco­gni­ti­on and resour­ces in the male-domi­na­ted art sce­ne of down­town New York of the 1960s and 1970s. Early reviews in “The New York Times” were vicious and sexist, with Clive Barnes cal­ling her “a dis­grace to the name of dancing” and John Rockwell opi­ning that she was “so ear­nest­ly stran­ge in a talen­ted litt­le-girl way”. And yet, as her cele­bra­ted con­tem­po­ra­ry Philip Glass says: “She, among all of us, was – and still is – the uni­que­ly gifted one.”
Monk in Pieces is a mosaic that mir­rors the struc­tu­re of her own work and illu­mi­na­tes her wild­ly ori­gi­nal voca­bu­la­ry of sound and imagery. In the film’s final chap­ters, Monk con­fronts mor­ta­li­ty. We see her wari­ly ent­rust her mas­ter­pie­ce “Atlas” to the direc­tor Yuval Sharon and sin­ger Joanna Lynn-Jacobs for a new pro­duc­tion with the Los Angeles Philharmonic. For 60 years, Monk has direc­ted and per­for­med in all her works; now she must learn to let go. What will hap­pen to such sin­gu­lar crea­ti­ons after she is gone?

Credits:

US/DE/FR 2025, 93 Min., engl. OmU
Regie: Billy Shebar, David Roberts
Kamera:  Jeff Hutchens, Ben Stechschulte
Schnitt: Sabine Krayenbühl 

Trailer:

nach oben

A film by Martín Rejtman. In Spanish with German subtitles.

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Gustavo loses the harm­o­ny in his life when his wife lea­ves him, he loses his home and an inju­ry pre­vents him from con­ti­nuing his work: tea­ching yoga. Between tre­mors, rob­be­ries, hos­pi­tals, motor­cy­cles, couple’s the­ra­py, yoga retre­ats, anti-inflamm­a­to­ries and anti­de­pres­sants, Gustavo will try to avo­id the fall. THE PRACTICE is a natu­ra­li­stic and deli­rious come­dy about the dra­ma of approa­ching 50.

Credits:

US/AR/CL/PT 2023, 93 Min. spa­ni­sche OmU,
Regie: Martín Rejtman
Kamera: Hugo Azevedo
Schnitt: Frederico Rotstein
mit: Esteban Bigliardi, Manuela Oyarzún, Amparo Noguera, Camila Hirane, Gabriel Cañas

Trailer:

nach oben

A film by Maura Delpero. In Italian with German subtitles.

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In four sea­sons natu­re com­ple­tes its cycle. A girl can beco­me a woman. A bel­ly can swell and beco­me a crea­tu­re.
One can lose the path that led safe­ly home, one can sail seas towards unknown lands.
In four sea­sons one can die and be reborn.
Vermiglio tells of the last year of the Second World War in a lar­ge fami­ly and how, by a para­dox of fate, with the arri­val of a refu­gee sol­dier it loses its peace at the very moment in which the world finds its own.

Credits:

IT/FR/BE 2024, 119 Min., ital. OmU
Regie: Maura Delpero
Kamera:  Mikhail Krichman
Schnitt: Luca Mattei
mit: Tommaso Ragno, Giuseppe De Domenico, Roberta Rovelli, Martina Scrinzi, Orietta Notari, Carlotta Gamba

Trailer:

nach oben

A film by Arun Bhattarai & Dorottya Zurbó. In Dzongkha with German subtitles.

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The film fol­lows Amber Kumar Gurung and Guna Raj Kuikel, two Bhutanese bureau­crats, in their tra­vels through the small Himalayan king­dom as cen­sus workers, mea­su­ring peo­p­le’s hap­pi­ness levels. They work for the Center for Gross National Happiness, a govern­ment insti­tu­ti­on which is tas­ked with coll­ec­ting data on the citi­zens‘ hap­pi­ness. This data is then used to inform the con­sti­tu­tio­nal­ly-man­da­ted goal of incre­asing natio­nal happiness.[5]

Along the way we meet Bhutan’s ever­y­day peo­p­le, such as a trans­gen­der bar sin­ger, a wealt­hy far­mer and his three wives, a teenage girl who worries about her mother’s alco­ho­lism, or a recent widower who finds solace in reli­gi­on. Through them we get a glim­pse into the Bhutanese socie­ty and their views on hap­pi­ness in face of adver­si­ty. We also explo­re Amber’s dreams and ambi­ti­ons, pri­ma­ri­ly among them the dream of fin­ding love.

Credits:

BT 2024, 94 Min., Dzongkha OmU
Regie: Arun Bhattarai, Dorottya Zurbó
Kamera: Arun Bhattarai,
Schnitt: Péter Sass

Trailer:

nach oben