A film by Eliza Petkova. In Bulgarian with German subtitles.

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In a remo­te Bulgarian moun­tain vil­la­ge, six ani­mals reve­al the mys­te­rious world of supers­ti­ti­on. A cat is con­side­red a vam­pi­re, a don­key is thought to be bewit­ched, and a dog is seen as a chi­cken hun­ter. Through sen­si­ti­ve obser­va­ti­on, we wit­ness the dwind­ling hopes of the vil­la­ge through the eyes of its four-leg­ged inha­bi­tants. Time seems to stand still, yet tran­si­ence remains the only constant.

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DE/BG 2024, 95 Min., bul­ga­ri­sche OmU
Regie: Eliza Petkova
Kamera: Constanze Schmitt
Schnitt: Eliza Petkova, Hannes Marget

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A film by Kirill Serebrennikov. In German and Spanish with German subtitles.

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The film fol­lows Nazi phy­si­ci­an Josef Mengele in the years fol­lo­wing the end of the Second World War, detail­ing his later life in Argentina, Paraguay, and Brazil. The film explo­res his rela­ti­onships with his second wife Martha and his estran­ged son Rolf as he jus­ti­fies his actions at Auschwitz con­cen­tra­ti­on camp.

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FR/MX/DE/GB 2025, 135 Min., deutsch, spa­ni­sche OmU,
Regie: Kirill Serebrennikov
Kamera: Vladislav Opelyants
Schnitt: Hansjörg Weißbrich
mit: D: August Diehl, Max Bretschneider, Dana Herfurth, Friederike Becht, Mirco Kreibich, David Ruland

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A film by Philipp Döring. 

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“It’s not about giving life more days, it’s about giving days more life” is one of the ide­as for­mu­la­ted by Cicely Saunders, the foun­der of pal­lia­ti­ve care. It fli­ckers up during a pre­sen­ta­ti­on in Philipp Döring’s four-hour insti­tu­tio­nal obser­va­ti­on while a carer ins­tructs a new staff mem­ber. They are at the Franziskus hos­pi­tal in Berlin. Döring docu­ments a few months here bet­ween the start of the year and sum­mer, accom­pany­ing doc­tors on their rounds and in con­sul­ta­ti­ons with rela­ti­ves and lis­tening in on the team’s inter­nal exch­an­ges, which don’t shy away from men­tio­ning short­co­mings. A safe space is crea­ted that fol­lows its own rules, in which dia­lo­gues about life paths are taken up and reflec­ted upon, pro­gress is cele­bra­ted and approa­ching fare­wells ent­rus­ted to the neces­sa­ry peo­p­le. Palliativstation is thus also a film about lan­guage, which shifts bet­ween medi­cal jar­gon and dif­fe­rent dialects and is some­ti­mes only able to be pro­du­ced with tech­ni­cal help. Döring gets very clo­se to death, but with it also to life. His film is weigh­ty, impres­si­ve and yet never beco­mes crus­hing under the bur­den of fate. One thing quick­ly beco­mes clear: life only ends with the final heartbeat.

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DE 2025, 245 Min.,
Regie, Kamera, Schnitt: Philipp Döring

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A film by Alissa Jung. In German, English and Italian with German subtitles.

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Fifteen-year-old Leo has grown up in Germany wit­hout a father. When she dis­co­vers his iden­ti­ty, she imme­dia­te­ly sets out to track him down. She finds Paolo in a board­ed-up beach bar on the win­try coast of nor­t­hern Italy. The reuni­on lea­ves Paolo over­whel­med and con­flic­ted. After Leo’s sud­den appearance in his life, he strug­gles to balan­ce his rela­ti­onship bet­ween her and the fami­ly he has now. At first, Leo just wants ans­wers. But soon, she starts to long for a place in Paolo’s life. With no money nor plans, she stays on in the small town. As they spend more time tog­e­ther, Leo and Paolo ten­ta­tively begin to bond and dis­co­ver they have much in com­mon. But rea­li­ty ine­vi­ta­b­ly cat­ches up with them. When Paolo prio­ri­ti­ses his youn­ger daugh­ter over Leo again, the lat­ter is left hurt and angry. A con­fron­ta­ti­on lays bare their pain, appar­ent­ly shat­te­ring their fra­gi­le con­nec­tion. But, amid the turm­oil, father and daugh­ter begin to ack­now­ledge their respec­ti­ve truths and take a small but meaningful step towards acceptance.

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DE/IT 2025, 113 Min., dt.,engl. ital. OmU
Regie & Schnitt: Alissa Jung
Kamera: Carolina Steinbrecher
Schnitt: Heike Parplies, David Maria Vogel
mit: TJuli Grabenhenrich, Luca Marinelli, Arturo Gabbriellini, Joy Falletti Cardillo, Gaia Rinaldi

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A film by Michael Kofler. In German and Italian with German subtitles.

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1961 – South Tyrol, a mino­ri­ty regi­on in Northern Italy, beco­mes sta­ging ground for a bom­bing cam­paign against Italian rule. The lives of aspi­ring artist Paul, his hard­li­ner brot­her Anton, and Anton’s wife, Anna, spi­ral out of control..

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DE/IT/AT 2025, 112 Min.,
Regie & Schnitt: Michael Kofler
Kamera: Felix Wiedemann
Schnitt: Florian Miosge
mit: Thomas Prenn, Aenne Schwarz, Laurence Rupp, Francesco Acquaroli

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Sorry, this ent­ry is only available in Deutsch.

Zum drit­ten Mal bei uns zu Gast ist ab 13.11. das Afrikamera-Festival, dies­mal mit vier aus­ge­such­ten Filmen. My Father’s Shadow [13.11. Tickets], der ers­te nige­ria­ni­sche Film, der jemals in der offi­zi­el­len Auswahl von Cannes gezeigt wur­de, ist eine semi-auto­bio­gra­fi­sche, impres­sio­nis­ti­sche Erinnerung an eine prä­gen­de Erfahrung und eine Zeit in Lagos. Ebenfalls dort kämpft Jawu in The Legend of the Vagabond Queen of Lagos [14.11. mit Q&A Tickets] für die Rettung der Gemeinschaft in den soge­nann­ten Waterfront-Communities. In ihrer Emanzipationsgeschichte Les Invertueuses [15.11., mit Q&A Tickets] kon­fron­tiert Regisseurin Aicha Chloé Boro die Teenagerin Nadie vor dem Hintergrund des Vormarsches der Dschihadisten in Burkina Faso mit den Normen einer kon­ser­va­ti­ven Gesellschaft. Der Krieg im Sudan erfor­der­te eine neue Form für den Dokumentarfilm über fünf Bewohner der titel­ge­ben­den Stadt Khartoum [16.11. Tickets]. “… ein lyri­sches, emo­tio­na­les Porträt ver­schie­de­ner Menschen aus Khartum in einem Schlüsselmoment der afri­ka­ni­schen Geschichte.” Berlinale

A film by Stefan Haupt. In German with English subtitles.

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“I’m not Stiller!” When an American named James Larkin White tri­es to enter Switzerland, he’s suspec­ted of being Anatol Stiller, a sculp­tor who had gone into hiding. Even Stiller’s wife Julika initi­al­ly belie­ves that this man is her hus­band. Yet he insists that he is someone else and starts tel­ling a dif­fe­rent story.

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CH DE 2025, 99 Min., Deutschmit eng­li­schen Untertiteln
Regie: Stefan Haupt
Kamera: Michael Hammon
Schnitt: Franziska Koeppel
mit: Paula Beer, Albrecht Schuch, Marie Leuenberger, Sven Schelker, Max Simonischek

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A film by Eva Libertad. Spanish and Spanish Sign Language with German Subtitles

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Ángela, a deaf woman, and Héctor, her hea­ring part­ner, are expec­ting a child. They are exci­ted about the pregnan­cy, alt­hough they do not yet know whe­ther the baby will be deaf or hea­ring. Despite both clai­ming they can hand­le wha­te­ver comes, their under­ly­ing con­cerns are evi­dent. After a com­pli­ca­ted and emo­tio­nal­ly inten­se labour, Ángela gives birth to their daugh­ter, but the pair will have to wait a cou­ple of months to learn if the baby is hea­ring or not. During this time, Héctor strug­gles to ful­ly grasp the chal­lenges Ángela is facing, while she must come to terms with rai­sing a daugh­ter who may not share her expe­ri­ence of the world. This jour­ney forces both of them to ques­ti­on their roles as part­ners and par­ents, as Ángela grapp­les with her iden­ti­ty in a socie­ty that does not ful­ly accept or under­stand her.

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ES 2025, 99 Min.,
Spanisch, span. Gebärden mit deut­schen Untertiteln
Regie, Buch: Eva Libertad
Kamera: Gina Ferrer García
Schnitt: Marta Velasco
mit: Miriam Garlo, Álvaro Cervantes, Elena Irureta, Joaquín Notario

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A film by Jonas Egert. In German, English and Russian with German subtitles.

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The for­mer table ten­nis pro Dmitrij Mazunov is the coach at the new­ly foun­ded TTC Neu-Ulm, home to a world class inter­na­tio­nal team cent­red around the ping pong super­star Dimitrij Ovtcharov. In 2022, the club gets off to a fly­ing start in the Bundesliga and Champions League but, later, match bans are impo­sed. Can the club be saved? Superbly film­ed and extre­me­ly exci­ting. (Ysabel Fantou, DOK.fest München)

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DE 2025, 111 Min., English, German, Russian with German sub­tit­les
Director: Jonas Egert 

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A film by Agnieszka Holland. In German and Czech with German subtitles.

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There are seve­ral films about Kafka and adapt­a­ti­ons of his works, moun­ta­ins of Kafka bio­gra­phies and other secon­da­ry lite­ra­tu­re, humo­rous­ly illus­tra­ted in ‘Franz K.’ during one of the excur­si­ons into the bizar­re pre­sent. Agnieszka Holland and aut­hor Marek Epstein have cho­sen a very lively approach for their film ver­si­on, which appears like a coll­ec­tion of short sto­ries. The film repea­ted­ly jumps through time, show­ing excerp­ts and frag­ments of what is known about the life of the high­ly sen­si­ti­ve aut­hor. With a gre­at wil­ling­ness to expe­ri­ment, it allows us to par­ta­ke in his pri­va­te and pro­fes­sio­nal life and visual­ly inter­prets excerp­ts from his work wit­hout, howe­ver, ove­ru­sing ‘Kafkaesque’ imagery. It tells of fami­ly, fri­end­ship, pres­su­re and fear, inner and outer cons­traints, often in a playful man­ner, but also with appro­pria­te serious­ness, as in its tre­at­ment of the incre­asing­ly threa­tening situa­ti­on of Jews in Europe.

Credits:

DE CZ 2025, 127 Min. Deutsch, Tschechisch OmdU
Regie: Agnieszka Holland
Drehbuch: Marek Epstein
Kamera :Tomasz Naumiuk
mit: Idan Weiss, Peter Kurth, Jenovéfa Boková, Ivan Trojan, Sandra Korzeniak, Katharina Stark

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