Category Archives: archiv

Moleküle der Erinnerung – Venedig, wie es niemand kennt

a film by Andrea Segre. Starts December 30th at the fsk. In Italian with German subtitles

[Credits] [Tickets & Termine] [Trailer]

Some things are very dif­fi­cult for a father to share with his son and the lat­ter can only start to under­stand them when he beco­mes a father. In February-April this year, Andrea Segre, who has been living in Rome for years, was blo­cked by the lock­down in Venice, the city of his father Ulderico. He was working the­re on two theat­re and cine­ma pro­jects on the city’s gre­at blights: tou­rism and high water. While he was filming the city was fro­zen and emp­tied befo­re his very eyes, res­to­ring it to natu­re and its histo­ry, and in some ways to him as well. He collec­ted visu­al notes and spent that peri­od in his fami­ly home whe­re he del­ved into the past. Personal archi­ves in Super8 by the director’s father and the real prot­ago­nist of the film alter­na­te with mee­tings with Venetian inha­bi­tants, who talk about the rela­ti­ons­hip bet­ween the city and water whilst expe­ri­en­cing the unex­pec­ted arri­val of the gre­at void that has inva­ded Venice and a lar­ge part of the world. The who­le thing is kept tog­e­ther by the director’s off screen voice, Teho Teardo’s music and an atmo­s­phe­re of expec­tancy and ama­ze­ment that per­va­des the ent­i­re visu­al and exis­ten­ti­al mate­ri­al of this stran­ge journey.

Credits:

IT 2020, 68 Min., ital. OmU,
Buch & Regie: Andrea Segre
Kamera: Matteo Calore, Andrea Segre
Schnitt: Chiara Russo

Trailer:
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The Assistant

A film by Kitty Green. In English with German subtitles.

[Credits] [Tickets und Termine] [Trailer]

Another day at the office. Jane, the new assi­stant to a power­ful media mogul, is the first to arri­ve and, by the end of the film, will be the last to lea­ve. She does her job, endu­res her col­leagues’ con­stant hos­ti­li­ty and app­lies herself to her gro­wing pile of tasks with pain­sta­king pre­cisi­on: prin­ting out sche­du­les, arran­ging tra­vel, orde­ring lunch and tidy­ing up her boss’s office. Without him ever once put­ting in an appearan­ce in front of the came­ra, his exis­tence is none­theless all-per­va­si­ve – for both Jane and the audi­ence. We hear him on the other end of the pho­ne repri­man­ding Jane; we also wit­ness the array of attrac­ti­ve young women who are paying a visit to the com­pa­ny at his behest. Jane’s sus­pi­ci­ons and dis­com­fort spin out of con­trol as it beco­mes clear that she is part of an abu­si­ve sys­tem.
Assembled with visu­al rigo­ur and nar­ra­ti­ve quietu­de, Kitty Green’s grip­ping fic­tio­n­al debut homes in on opp­res­si­ve prac­ti­ces in a work­place and depicts the abu­se taking place behind clo­sed doors from the per­spec­ti­ve of tho­se who are its wil­ling or unwil­ling enab­lers. By the end, we may not have seen much, but we under­stand everything.


Credits:

US 2019, 87 Min., engl. OmU,
Regie: Kitty Green
Kamera: Michael Latham
Schnitt: Kitty Green, Blair McClendon
mit Julia Garner, Matthew Macfadyen, Makenzie Leigh, Kristine Froseth


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Sing Me a Song

a film by Thomas Balmès. Starts December 9th at the fsk. In Dzongkha with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

16-year-old Peyangki has lived as a monk in a monas­te­ry in the moun­tains of Bhutan sin­ce ear­ly child­hood. His smart­pho­ne is the con­nec­tion to the world, in it he has seen ever­ything – and he has fal­len in love. He met Nguen on WeChat, the Chinese face­book. For mon­ths, the two exchan­ge messages day and night, Peyangki sings for her, she reve­als her wis­hes and hopes for the future. It is first, total love that chan­ges ever­ything and turns the life of a teen­ager upsi­de down.

He for­got that he wan­ted to make money; for­got that he wan­ted to return from the monas­te­ry to his fami­ly. Now he wants to go to town, and meet Nguen – becau­se so far they’­ve only met vir­tual­ly. „Sing Me a Song” will accom­pa­ny the young monk on his jour­ney to the capi­tal and his first mee­ting with Nguen.

Credits:

FR/DE/CH 2019, 90 Min., Dzongkha OmU,
Regie & Kamera: Thomas Balmès,
Schnitt: Alex Cardon, Ronan Sinquin


Trailer:
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Bilder (m)einer Mutter

a film byMelanie Lischker. In German with eng­lish subtitles.

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What must a woman have been through for her to sim­ply not have a role in her fami­ly any lon­ger?” Through Super‑8 and video mate­ri­al that her father had pain­sta­kin­gly collec­ted, Melanie Lischker tells the sto­ry of her mother and, with it, that of an ent­i­re generation.

Credits:

DE 2021, 78 Min, ,
Regie & Buch: Melanie Lischker,
Kamera: Thomas Lischker, Melanie Lischker,
Schnitt: Mechthild Barth, Melanie Lischker


Trailer:
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The Power of the Dog

a film by Jane Campion. Starts December 16th at the fsk. In English with German subtitles.

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Set in Montana in the 1920s, Jane Campion’s hot­ly anti­ci­pa­ted new film is an ent­hral­ling revi­sio­nist wes­tern awa­sh in sub­li­me expan­ses and nuan­ce, cap­tu­ring a land­s­cape and a peop­le dri­ven by the fan­ta­sy and fol­ly of wes­tern expan­si­on. Adapted from Thomas Savage’s cult novel of the same name, The Power of the Dog tells the sto­ry of suc­cess­ful ran­cher bro­thers George (Jesse Plemons) and Phil (Benedict Cumberbatch) Burbank, who­se rela­ti­ons­hip sours when the more mild-man­ne­red George mar­ries local widow Rose (Kirsten Dunst).

Rose and her son Peter (Kodi Smit-McPhee) arri­ve at the Burbank ranch — see­min­gly who­le­so­me and naï­ve — and attempt to fit into the family’s com­plex dyna­mic of new money, but are con­ti­nu­al­ly sty­mied by an unspo­ken bro­ther­ly bond. Phil’s past as a clas­sics scho­l­ar at Yale is bare­ly dis­cer­ni­ble as he sports a tough and dir­ty exte­rior, while fre­quent­ly refer­ring to the anti­cs of his men­tor Bronco Bill. Cumberbatch shi­nes in this fero­cious per­for­mance as a cow­boy to the core, who­se hurtful, macho quips toward Peter and his mother hint at a sim­me­ring menace and a capa­ci­ty for erra­tic cru­el­ty and vio­lence; a kind of camou­fla­ge that only ser­ves to repress deep-sea­ted trau­ma and latent desire.

Proving once again that she is one of today’s grea­test filmma­kers, Campion deli­vers a fasci­na­ting stu­dy of mas­cu­lini­ty and inter­nal torment, sub­ver­ting the codes of the wes­tern — and of the male gaze — in a uni­ver­se that is always shif­ting in tone, ren­de­red with stun­ning cine­ma­to­gra­phy by Ari Wegner, a dis­ori­en­ting score by Jonny Greenwood, and a ter­ri­fic ensem­ble cast.

Credits:

NZ/AU 2021, 126 Min, engl. OmU
Regie: Jane Campion
Kamera: Ari Wegner
Schnitt: Peter Scibberas
mit: Benedict Cumberbatch
Jesse Plemons
Kirsten Dunst
Kodi Smit-McPhee


Trailer:
The Power of the Dog | Official Teaser | Netflix
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Adam

a film by Maryam Touzani. Starts In Arabic with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Abla runs a popu­lar bak­e­ry in the nar­row streets of Casablanca’s old town. Mother of eight-year-old Warda, the wido­wed for­ty-some­thing is facing a busy day-to-day life. When her rou­ti­ne is bro­ken by a knock on the door, she is still unawa­re that her life is about to chan­ge fore­ver. On the door­step stands Samia, a pregnant young woman asking for a place to stay in exchan­ge for help around the house and in the bak­e­ry. While Abla does not want to enga­ge with this stran­ger pro­mi­sing not­hing but trou­ble, litt­le Warda immedia­te­ly takes to Samia. One night tur­ning into several, the cool­ly detached Abla incre­a­singly fails to hide the fact that Samia is an unex­pec­ted asset to her bak­e­ry busi­ness as well as her ent­i­re life. Adam is a bit­ters­weet dra­ma, car­ri­ed by the excep­tio­nal Belgian-Moroccan star actress Lubna Azabal.

Credits:

MA/FR 2019, 98 Min., arab. OmU
Regie: Maryam Touzani
Kamera: Adil Ayoub
Schnitt: Julie Naas
mit: Douae Belkhaouda, Aziz Hattab, Hasna Tamtaoui u. a.


Trailer:
ADAM Trailer German Deutsch (2021)
im Kino mit deut­schen Untetiteln
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Vater – Otac

a film by Srdan Golubovic. In Serbian with German subtitles

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After Nikola’s wife has attemp­ted sui­ci­de, the casu­al labourer’s two child­ren are taken away from him and pla­ced with fos­ter par­ents. A tem­pora­ry arran­ge­ment, it is alle­ged. However, fol­lowing an assess­ment of Nikola’s housing con­di­ti­ons, the head of the social wel­fa­re office in their small Serbian vil­la­ge deci­des that Nikola is too poor to pro­vi­de an ade­qua­te living envi­ron­ment for his child­ren. The reti­cent Nikola deci­des to lodge a com­p­laint with the Ministry of Social Affairs in Belgrade. He is deter­mi­ned to cover the 300 kilo­me­tres to the capi­tal on foot. In this way, he intends to show the aut­ho­ri­ties how far he is wil­ling to go for his child­ren – liter­al­ly.
Srdan Golubović finds authen­tic, moving images to tell this tale of ine­qua­li­ty. His quiet but resi­li­ent prot­ago­nist explo­res not only the coun­try, but also the bounda­ries bet­ween right and wrong. Resolved not to give in to his moun­ting despe­ra­ti­on, this ten­acious father embarks on a heroic jour­ney that rede­fi­nes the word hero.

Credits:

RS, FR, DE, SL, HR, BA 2020, 99 Min., ser­bi­sche OmU
Regie: Srdan Golubovic
Drehbuch: Srdan Golubovic, Ognjen Svilicic
Kamera: Aleksandar Ilić
Schnitt: Petar Marković
mit: Goran Bogdan, Boris Isaković,
Nikola Rakocevic, Milan Maric
Länge: 99 Minuten


Trailer:
Father (Otac) (2020) | Trailer | Goran Bogdan | Boris Isakovic | Nada Sargin | Srdan Golubovic
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Die Zähmung der Bäume – Taming the Garden

a film by Salomé Jashi. In Gerogian with German subtitles.

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A power­ful man, who is also the for­mer prime minis­ter of Georgia, has deve­lo­ped an exqui­si­te hob­by. He collects cen­tu­ry old trees along Georgia’s coast­li­ne. He com­mis­si­ons his men to uproot them and bring them to his pri­va­te gar­den. Some of the­se trees are as tall as 15-floor-buil­dings. And in order to trans­plant a tree of such dimen­si­ons some other trees are chop­ped down, electric cables are shifted and new roads are paved through man­da­rin plantations.

The film moves the con­cept of uproo­ting from its meta­pho­ri­cal mea­ning into an opp­res­si­ve, tan­gi­ble and yet sur­re­al reality.

Credits:

CH/DE/GE 2021, 92 Min., geor­gi­sche OmU
Regie und Buch: Salomé Jashi

Kamera: Goga Devdariani, Salomé Jashi
Schnitt: Chris Wrightenn

Trailer:
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Große Freiheit

A film by Sebastian Meise. In German with English subtitles.

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In post-war Germany Hans is impr­i­son­ed again and again for being homo­se­xu­al. Due to para­graph 175 his desi­re for free­dom is sys­te­ma­ti­cal­ly des­troy­ed. The one steady rela­ti­ons­hip in his life beco­mes his long time cell mate, Viktor, a con­vic­ted mur­de­rer. What starts as revul­si­on grows into some­thing cal­led love.

Credits:

Deutschland/Österreich 2021, 116 Min.
Regie: Sebastian Meise

Kamera: Crystel Fournier
Schnitt: Joana Scrinzi
Buch: Thomas Reider & Sebastian Meise
mit: Franz Rogowski, Georg Friedrich, Anton von Lucke, Thomas Prenn


Trailer:
Große Freiheit – offi­zi­el­ler Kinotrailer – Kinostart am 18.11.2021
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Sturmhöhe

Sorry, this ent­ry is only avail­ab­le in German.

Ein Film von Andrea Arnold.

[indie­ki­no Club]

Der Klassiker Wuthering Heights – Sturmhöhe, ein­zi­ger Roman der jun­gen Emily Brontë, wur­de schon oft ver­filmt, hier aber erst­mals von einer Regisseurin. Es war ein die Erfüllung eines Traumes der Britin Andrea Arnold, bis­her bekannt für zeit­ge­nös­si­sche Regiearbeiten. Sie behan­delt nur die ers­te Hälfte des Buches, und schaff­te ein radi­ka­les Werk, das beim Filmfest Venedig ver­stör­te und begeis­ter­te. Nicht, dass die Rolle des auf­ge­nom­me­nen Sohnes Heathcliff mutig und nicht inkon­se­quent von einem schwar­zen Schauspieler inter­pre­tiert wird, son­dern die extre­me Reduzierung des Stoffes auf die Kraft der Elemente, die Sinnlichkeit der Darstellung, die Entkleidung von jeder Romantik ohne Verleugnung des Emotionalen machen den Film zu einer beson­de­ren Erfahrung. Die Geschichte der aus­sichts­lo­sen Liebe zwi­schen dem frem­den Jungen und Cathy, Tochter des Hauses, ist geprägt von Standesdünkel und Verzweifelung, Macht und Ohnmacht und kor­re­spon­diert mit der rau­hen und auch unwirt­li­chen, aber reiz­vol­len Umgebung  der Yorkshire Dales. Die Regisseurin drang dabei vor zum Kern des Romans, der bei sei­ner Veröffentlichung 1847 in die vik­to­ria­ni­sche Epoche ein­schlug wie ein Blitz. 
„Arnolds Interpretation erlangt ihren Zauber durch eine Achtsamkeit für die ein­zel­nen Ingredienzien … . Dieses erreicht sie – obschon das para­dox erscheint – gera­de durch einen pro­non­cier­ten Realismus der Darstellung, der fern jeder Verklärung ist. Dazu gehört auch ein fei­nes Gehör für die viel­fäl­ti­gen Naturgeräusche sowie der Verzicht auf sol­che Musik, die nicht zur Handlung gehört, wie etwa ein­fa­che Lieder, die Cathy singt. Erst zum Abspann ertönt der weh­mü­ti­ge Song «The Enemy» der Band Mumford & Sons.“  Susanne Ostwald, NZZ 

GB 2011, 128 Min., engl. OmU
Regie: Andrea Arnold
mit Kaya Scodelario, Nichola Burley, Steve Evets, James Howson, Shannon Beer, Solomon Glave