Sorry, this ent­ry is only available in German.

Vom 06.–13.09.2023 fin­det die­ses Jahr das größ­te pol­ni­sche Filmfestival außer­halb Polens statt (mehr, Katalog). Im fsk zei­gen wir alle sie­ben Wettbewerbsbeiträge und zwei Specials:

Vom 06.–13.09.2023 fin­det die­ses Jahr das größ­te pol­ni­sche Filmfestival außer­halb Polens statt (mehr). Im fsk zei­gen wir alle sie­ben Wettbewerbsbeiträge und zwei Specials:
So erzählt Damian Kocurs mit Laiendarstellerinnen besetz­tes Drama CHLEB I SÓL / BROT UND SALZ im 4:3‑Format vom Klavierstudenten Tymoteusz, der in sei­ne altes abge­häng­tes Provinzstädtchen zurück­kehrt, wo Alkohol, Aggression und Ressentiments gegen alles Fremde auf der Tagesordnung ste­hen – und von der Eskalation, die dar­aus fol­gen muss. (13.9. / 20:00 Tickets) Ebenfalls in einer Stadt ohne Perspektiven ange­sie­delt ist der Dokumentarfilm LOMBARD / DAS PFANDHAUS von Łukasz Kowalski, der bei DOK Leipzig 2022 den Doc Alliance Award gewann. Die doku­men­ta­ri­sche Studie ist ein inti­mer Blick hin­ter die Kulissen eines Pfandhauses in Bytom, das nicht nur von den Schicksalen der Käuferinnen und Betreiberinnen, son­dern den pre­kä­ren Lebensentwürfen vie­ler Menschen in struk­tu­rell schwa­chen Gegenden zu berich­ten weiß. (9.9. / 20:00 GAST: Łukasz Kowalski Tickets) DAS PFANDHAUS ist nicht der ein­zi­ge doku­men­ta­ri­sche Beitrag im Wettbewerb. Als zwei­tes Roadmovie im filmPOLSKA-Programm wid­met sich BÓG I WOJOWNICY LUNAPARKÓW / GOD & LUNA PARK WARRIORS wie­der einer Familienkonstellation, die­ses­mal aus Vater und Sohn. Der athe­is­ti­sche Schriftsteller Andrzej Rodan und sein Sohn Paweł, ein tief gläu­bi­ger Christ mit ent­spre­chen­den Karriereabsichten, lie­gen in ihren Ansichten grund­sätz­lich über Kreuz und machen sich auf den Weg, den herz­kran­ken Vater zu ret­ten. Geistig-geist­lich ver­steht sich, denn es han­delt sich um den ver­zwei­fel­ten Versuch einer Evangelisation. (11.9. / 20:00 GAST: Bartłomiej Żmuda Tickets) Mit THE SILENT TWINS von Agnieszka Smoczyńska ist auch ein inter­na­tio­nal von der Kritik gefei­er­ter Beitrag im Programm. Smoczyńskas zwi­schen Drama und Thriller chan­gie­ren­der ers­ter fremd­spra­chi­ger Film fei­er­te in Cannes 2022 sei­ne Premiere und basiert auf rea­len Ereignissen: Das bar­ba­di­sche Zwillingspaar June und Jennifer Gibbons wächst in den 70er-Jahren in der xeno­pho­ben wali­si­schen Provinz auf und beschließt irgend­wann, mit nie­man­dem mehr zu spre­chen. (7.9. / 20:00 GAST: Agnieszka Smoczyńska Tickets) Ergänzend dazu steu­ert Dorota Lamparska mit PRZEJŚCIE / THE PASSAGE einen dezi­dier­ten Arthouse-Film bei, in dem die Themen Vergänglichkeit und Tod anhand einer kaput­ten Brücke ins Jenseits und dem Schicksal der zwi­schen Leben und Tod her­um­ir­ren­den Protagonistin Maria mit iro­ni­schem Unterton ver­han­delt wer­den. (12.9. / 20:00 GAST: Dorota Lamparska Tickets) Zwei Filme beleuch­ten Machtverhältnisse und Manipulation. In Grzegorz Mołdas Kammerspiel MATECZNIK / THE HATCHER muss sich der jun­ge Strafgefangene Karol mit elek­tro­ni­scher Fußfessel den bis­wei­len sadis­tisch anmu­ten­den Resozialisierungsmethoden sei­ner Betreuerin Marta fügen. (10.9. / 20:00 Tickets GAST: Grzegorz Mołda) Im Mittelpunkt von Tomasz Habowskis Schwarz-Weiß-Film PIOSENKI O MIŁOŚCI / LIEBESLIEDER steht hin­ge­gen die Musik zwi­schen Karriere und zweck­be­frei­ter Leidenschaft: Hier pral­len die Welten des hoch­am­bi­tio­nier­ten, wohl­si­tu­iert auf­ge­wach­se­nen Komponisten Robert und der als Kellnerin arbei­ten­den, „heim­li­chen“ Sängerin Alicja uner­bitt­lich auf­ein­an­der, mit schwer wie­gen­den Konsequenzen. Der Film ist pro­mi­nent besetzt: Die Rolle der Alicja spielt Justyna Święs, Sängerin des erfolg­rei­chen Pop-Duos The Dumplings. (8.9. / 20:00 GAST: Tomasz Habowski Tickets)
Die Specials: CICHA ZIEMIA | Stilles Land von Aga Woszczyńska beob­ach­tet ein pol­ni­schen Ehepaar beim Versuch, einen ent­spann­ten Urlaub an der Küste Sardiniens zu ver­brin­gen. (10.9. / 15:00 Tickets) In KOBIETA NA DACHU / Woman On The Roof von Anna Jadowska ver­zei­fel die Ärztin Mira kurz vor der Rente an drü­cken­den Schulden. (9.9. / 15:00 GAST: Anna Jadowska Tickets)
* = mit Gast

• vorbei 

A film by Dominik Graf and Felix von Boehm. In German with English sub­tit­les on request.

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How sure can a per­son be of them­sel­ves? This is the cen­tral ques­ti­on of Dominik Graf’s new docu­men­ta­ry essay. Based on Anatol Regnier’s epony­mous book, this film deals with artists’ desti­nies and the imme­dia­te rea­li­ty of the Nazi era. What was it like to live in a dictatorship?

In Jeder schreibt für sich allein, we encoun­ter the bio­gra­phies of very well-known aut­hors, each of whom lived extre­me­ly indi­vi­du­al ambi­va­len­ces. For exam­p­le, Gottfried Benn and Erich Kästner, who were, at the same time, ban­ned from wri­ting to the Nazis, but repea­ted­ly sup­port­ed them in dif­fe­rent ways. Or Ina Seidel, best­sel­ling aut­hor and ardent Hitler fan, who was in a secret same-sex relationship. 

Jeder schreibt für sich allein is a film that high­lights that the tempt­a­ti­on of cla­ri­ty is often the grea­test stupidity.

Credits:

DE 2023, 169 Min., deut­sche Fassung engl. UT auf Nachfrage
Regie: Dominik Graf, Felix von Boehm
Kamera: Florian Mag, Markus Schindler, Niclas Reed Middleton, Pierre Nativel, Sven Jakob-Engelmann
Schnitt: Claudia Wolscht
mit Anatol Regnier, Florian Illies, Géraldine Mercier, Albert von Schirnding, Christoph Stölzl, Henrike Stolze, Günter Rohrbach, Gabriele von Arnim, Julia Voss, Willy Kristen, Wendelin Neubert, Carlo Paulus, Simon Strauß, Clemens von Lucius, Lena Winter

Trailer:

nach oben

A film by Ira Sachs. In English and French with German subtitles.

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On the final day of his shoot in Paris, German film­ma­ker Tomas is visi­bly ten­se. He is all stern exacti­tu­de as he explains to his extras just pre­cis­e­ly how to posi­ti­on their hands or what their moti­va­ti­on is as they walk down a flight of stairs – right up until the final sla­te. At the wrap par­ty, Tomas falls first into the arms of his British hus­band Martin, but then he meets a young pri­ma­ry school tea­cher, Agathe. A dance deve­lo­ps into a flir­ta­ti­on and then into a pas­sio­na­te night tog­e­ther. The next mor­ning, Tomas proud­ly tells Martin that he has slept with a woman. As this one-night stand grows into some­thing more, the rela­ti­onship bet­ween the two men beg­ins to chan­ge. A tale of rela­ti­onships that is mark­ed by pas­si­on, jea­lou­sy and nar­cis­sism unfolds in which each shows scant sen­si­ti­vi­ty for the needs of the others.
Ira Sachs’ latest work, his sixth outing in Panorama, once again pro­ves his talent for careful­ly obser­ved rela­ti­onship dra­mas. There is a hint of French cine­ma and a tang of Fassbinder waf­ting around the three prot­ago­nists as their per­so­nal wounds con­stant­ly rede­fi­ne the power rela­ti­ons bet­ween them.

Credits:

FR 2023, 91 Min., Englisch, Französisch OmU
Regie: Ira Sachs
Kamera: Josée Deshaies
Schnitt: Sophie Reine
mit Franz Rogowski, Ben Whishaw, Adèle Exarchopoulos

Trailer:

nach oben

A film by Sönje Storm. In German and Low German with English subtitles.

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In a nor­t­hern German attic: boxes of pin­ned but­ter­flies, careful­ly hand-colou­red pho­to­graphs of the local flo­ra and fau­na, hundreds of stuf­fed and dus­ty birds – Jürgen Friedrich Mahrt (1882–1940) did a gre­at job. His coll­ec­tions echo a pre­sent that doesn’t exist any­mo­re. And yet all signs of an eco­lo­gi­cal cri­sis can be found buried in them.
Dead or ali­ve? There is an uncan­ny ele­ment in Jürgen Friedrich Mahrt’s pho­tos: One can’t always be sure whe­ther the ani­mal cap­tu­red in the frame is the result of hours of wai­ting or just a spe­ci­men staged to look life­li­ke. The ripp­les around the duck on the pond are miss­ing, the bird of prey looks sus­pi­cious­ly calm direct­ly into the lens. Mahrt crossed bor­ders. He sacri­fi­ced his duties as a far­mer to the urge to docu­ment natu­ral envi­ron­ments we hard­ly find in natu­re today. Ancient forests, enchan­ted moors, macro views of fat, colourful cater­pil­lars – almost magi­cal images that make one sad in view of a varie­ty irre­trie­v­a­b­ly lost. His gre­at-grand­d­augh­ter Sönje Storm has the quiet eccentric’s estate ana­ly­sed by experts, shows peat cut­ters, extinct spe­ci­es and a chan­ging coun­try­si­de. An excee­din­gly sti­mu­la­ting excur­si­on, con­ge­ni­al­ly accom­pa­nied by the scur­ri­lous elec­tro­ni­ca sounds of Dominik Eulberg and Bertram Denzel.
(Carolin Weidner, DOK Leipzig 2022)

Credits:

DE 2022, 85 Min., deutsch, platt­deut­sche OmeU
Regie: Sönje Storm
Kamera: Alexander Gheorghiu
Schnitt: Halina Daugird

Trailer:

nach oben

A film by Wes Anderson. In English with German subtitles.

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Like Richard Linklater in APOLLO 10 ½ Wes Andersons ASTEROID CITY explo­res a mythi­cal Space Age that dreamt of a bright future very dif­fe­rent from the present.

Wes Anderson, in the vein simi­lar to David Lynch, makes films for hims­elf and an audi­ence that has alre­a­dy fal­len for his aes­the­tic and his quir­ky sto­ries and cha­rac­ters.

Just like in his past films, the plot is a Russian nes­t­ing doll of inter­la­cing lay­ers: the came­ra films a recor­ding of a TV pro­gram about the gene­sis of a play and the dif­fi­cul­ties and obs­ta­cles that need to be over­co­me by the pre­mie­re, but the core of the film is the plot of the play its­elf. The props are deli­ver­ed by a freight train during the ope­ning cre­dits, and the came­ra avo­ids any late­ral move­ments which could reve­al that the enti­re world is actual­ly just a paper mache faca­de.

At its core, the film is about a gathe­ring of dif­fe­rent peo­p­le in the year 1955 in a small desert town to com­me­mo­ra­te the anni­ver­sa­ry of the aste­ro­id impact that gave the city its name. The high­light is a rare astral event and in addi­ti­on to this, the best of a small group of juni­or sci­en­tists will be sel­ec­ted. For them it‘s an oppor­tu­ni­ty to be around simi­lar­ly ner­dy peers while their par­ents can talk to each other about what it‘s like having child­ren that are some­what stran­ge. All the gene­ra­ti­ons feel lost and ali­en­ated from their earth­ly lives and despera­te­ly want the­re to be some­thing in the stars that will give them mea­ning. Augie Steenbeck (Jason Schwartzmann), for exam­p­le, is devas­ta­ted by the death of his wife and hasn‘t been able to tell his child­ren about it, to the disp­lea­su­re of his father-in-law Stanley (Tom Hanks). Augie can only open up to his pavi­li­on neigh­bor, film star Midge Campbel (Scarlett Johansson), who has also lost her ori­en­ta­ti­on due to a pain­ful loss. When an ali­en (Jeff Goldblum) unex­pec­ted­ly lands during the cerem­o­ny, it leads to a lock­down as ins­truc­ted by the pre­si­dent as oppo­sed to a meaningful impe­tus. But lucki­ly, they can turn to the wri­ter or direc­tor of this play at that point, and if the crea­tors can‘t help eit­her, they go one step fur­ther, to the front of the thea­ter, may­be the­re will be some­bo­dy who can say some­thing hel­pful the­re. Or they can just not worry and see what hap­pens next. Sooner or later, the pro­blem will sol­ve its­elf.

With all of its exis­ten­tia­list con­side­ra­ti­ons, ASTEROID CITY is actual­ly a sweet and tho­rough­ly opti­mi­stic decla­ra­ti­on of love to the ver­si­on of the 1950s whe­re the­re was still hope for a bet­ter future in space and nuclear power and ever­y­thing, yes ever­y­thing, could be bought from a ven­ding machi­ne. The film is car­ri­ed by a spec­ta­cu­lar cast that have eit­her alre­a­dy been in other Anderson films (Tilda Swinton as a con­fu­sed astro­no­mer) or will hop­eful­ly pop up again (Steve Carell as the unshakeable hotel mana­ger). Since there‘s not­hing to ‘com­pre­hend‘ bes­i­des its per­so­nal emo­tio­nal reso­nan­ce, which Wes Anderson films often evo­ke, ASTEROID CITY is a cine­a­stic gift that gives a cozy fee­ling of hap­pi­ness in many shades.

Christian Klose | indiekino

Translation: Elinor Lewy

Credits:

US 2023, 104 Min., engl. OmU
Regie & Buch: Wes Anderson
Kamera: Robert D. Yeoman
Schnitt: Barney Pilling
mit: Tom Hanks, Jason Schwartzman, Scarlett Johansson, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Ed Norton, Adrien Brody, Liev Schreiber, Hope Davis, Rupert Friend, Maya Hawke, Steve Carell, Margot Robbie, Matt Dillon, Hong Chau, Willem Dafoe, Jeff Goldblum, Rita Wilson

Trailer:

nach oben

A film by Aslı Özge. In German.

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During an emer­gen­cy, the resi­dents of an apart­ment buil­ding in Berlin drop all pre­ten­se of human decency.

Due to an unex­plai­ned inci­dent out­side an apart­ment buil­ding in Berlin, the poli­ce block the ent­ran­ces to the cour­ty­ard, and a ten­se situa­ti­on ensues. Uncertainty among the resi­dents fuels fears. Suspicion and panic spread; pre­ju­di­ce leads to pola­riza­ti­on. The cour­ty­ard is a micro­c­osm, with rela­ti­onships based on power and pro­fit. Perhaps the real dan­ger is not from out­side, but from within.

Credits:

DE/BE 2023, 120 Min.,
Regie: Aslı Özge
Kamera: Emre Erkmen
Schnitt: Patricia Rommel
mit: Luise Heyer, Felix Kramer, Christian Berkel, Timur Magomedgadzhiev, Manal Issa, André Szymanski, Sascha Alexander Geršak, Jonathan Berlin, Anne Ratte-Polle

Trailer:

nach oben

A film by Ferit Karahan. In Turkish and Kurdish with German subtitles.

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Strict rules pre­vail at a remo­te boar­ding school in the moun­ta­ins of Anatolia whe­re Turkish tea­chers edu­ca­te gifted Kurdish pupils from the sur­roun­ding area. Once a week, the boys are allo­wed to show­er and, like ever­y­thing else here, this pro­cess is moni­to­red. One night, twel­ve-year-old Memo asks his fri­end Yusuf if he can sleep in his bed. But, afraid of gos­sip, Yusuf refu­ses. The next mor­ning, Memo is sick and can­not attend class. The school’s hea­ting has bro­ken down and an icy winter’s day takes its cour­se. Memo’s con­di­ti­on wor­sens. He is no lon­ger respon­si­ve and Yusuf is only allo­wed to talk when prompt­ed. Gradually, the events of the pre­vious night are reve­a­led.
Ferit Karahan’s fine­ly spun dra­ma illu­mi­na­tes a micro­c­osm mark­ed by pover­ty and fear. Surrounded by snow and frost, the emo­tio­nal cold­ness which pre­vails bet­ween tea­chers and pupils in this aut­ho­ri­ta­ri­an edu­ca­tio­nal insti­tu­ti­on beco­me almost phy­si­cal­ly tangible.

Credits:

Okul Tıraşı
TR 2021, 85 Min., Türk., kurd. OmU
Regie: Ferit Karahan
Kamera: Türksoy Gölebeyi
Schnitt: Sercan Sezgin, Hayedeh Safiyari, Ferit Karahan
mit: Samet Yıldız, Ekin Koç, Mahir İpek, Melih Selçuk, Cansu Fırıncı, Nurullah Alaca

Trailer:

nach oben

A film by Markus CM Schmidt. In German, French, Bambara, English with German subtitles.

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In the 1970s, the­re was a vibrant big band music sce­ne in Mali that mixed Afro-Cuban jazz with tra­di­tio­nal music. The Berlin band Omniversal Earkestra redis­co­ver­ed the sound and set off on a jour­ney to meet the legends of the time and record an album with them that ends up being more of a cul­tu­re clash than expec­ted. An into­xi­ca­ting music film. Ysabel Fantounem Roadmovie durch Mali.

(DOK.fest München 2023, Ysabel Fantou)

Credits:

DE 2022, 92 Min., German, French, Bambara, English OmU
Regie & Schnitt: Markus CM Schmidt
Kamera: Martin Langner

Trailer:

nach oben

A film by Jenna Hasse. In French with German subtitles.

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“What do you like over the­re?” – “That it’s 100,000 km from here.”

Fourteen-year-old Margaux drifts dre­a­mi­ly bet­ween her father’s new flat and the children’s group home whe­re she is spen­ding her sum­mer as an intern. To the dis­con­tent of the adults, she strikes an unu­su­al but ten­der bond with seven year old half-orphan Juliette. When the two meet local fisher­man Joël during one of their secret strolls, Margaux expe­ri­en­ces the enig­ma­tic fee­ling of an inten­se lon­ging for dis­co­ve­ring the world. Modestly reser­ved, howe­ver atten­ti­ve, she expe­ri­en­ces the first traces of attrac­tion. Among the reflec­tions of Lake Geneva, the three unli­kely com­pa­n­ions will learn more about fishing, Indonesian legends and herons, and about how fri­end­ship can unfold in unex­pec­ted ways.

Credits:

CH 2023, 76 Min., frz. OmU
Regie: Jenna Hasse
Kamera: Valentina Provini
Schnitt: Noémie Fy
mit: Clarisse Moussa, Esin Demircan, Marc Oosterhoff, Adèle Vandroth, Pierre Mifsud, Mélanie Doutey, Filipe Vargas, Théo Rossi, Hadrien Motta, Elias Alves, Maël Ney

Trailer:

nach oben

A film by Andrea Segre. In Italian with German subtitles.

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Pietro and Alvise come from a long line of fishing fami­lies from Giudecca, Venice’s most ‚working-class‘ island. But they don’t see eye to eye on the see­mingly unstoppable trans­for­ma­ti­on of the lives of the Venetians and the city­’s very iden­ti­ty. Indeed, the far-rea­ching impact of glo­bal tou­rism has chan­ged the rela­ti­onship bet­ween Venice and its resi­dents, and the pan­de­mic has only thrown this cri­ti­cal situa­ti­on into reli­ef. Pietro would just like to keep fishing the typi­cal crabs found in the Lagoon, lonely as that life­style is, while Alvise belie­ves their home on the Giudecca its­elf is the ticket to joi­ning the eli­te mana­ging the city­’s real estate assets, hence run­ning Venice. This clash of views will invol­ve the enti­re fami­ly, in an ensem­ble film about how our world is changing.

Credits:

IT 2021, 100 Min.,
Regie: Andrea Segre
Kamera: Matteo Calore
Schnitt: Chiara Russo
mit: Paolo Pierobon, Andrea Pennacchi, Ottavia
Piccolo, Roberto Citran, Sara Lazzaro

Trailer:

nach oben