As with the rest of his oeuvre, duplication and mirroring of female characters once again informs Ryusuke Hamaguchi’s latest work, Guzen to sozo. It would not be out of place to make a literary analogy and, if one were to regard his two previous films (Happy Hour and Asako I &II) as novels, this new work could be described as a collection of short stories. The film’s recurring rhythm amplifies this effect. The three episodes, which each revolve around a woman, are in turn divided into three movements, like a piece of music. They tell stories of an unexpected love triangle, a failed seduction trap, and an encounter that results from a misunderstanding. The fragmentation serves to emphasise rather than undermine the exquisitely organic storytelling and mise en scène. Although most of the action takes place in a single space and involves just two actors, not once does it feel like filmed theatre. The secret lies not only in the writing, but also in the notion of a more complex temporality in each episode that flirts with science fiction in the final instalment. The moments we witness are crystallised into touching universal destinies marked by choices, regrets, deception and coincidences. They are the film’s true protagonists.
Clara is 39 and is taking a PhD in philosophy. She lives in a Kreuzberg flat share while her teenage daughter lives with her ex. Clara is having a secret relationship with one of her students. Her thesis supervisor, the strong and independent Margot, provides her with professional encouragement. When Clara visits her home in provincial Mecklenburg-Vorpommern for her mother’s birthday, she finds herself struggling with the pride and expectations but also with the rejection of her family and former companions. She begins to realise just how far she has moved away from her roots in her search for a self-determined life. But perhaps she had to move away. Because one’s perception of home can change. Annika Pinske’s quiet drama is a study in familiarity and distance, liberty and compulsion, the countryside and the city. Sensitive, nuanced performances from an outstanding cast with an assured command of the local dialects allow the audience to experience the atmospheres of both Berlin’s university milieu and the rural family get-together.
Credits:
DE 2022, 89 Min. Regie & Buch: Annika Pinske Kamera: Ben Bernhard Schnitt: Laura Lauzemis mit Anne Schäfer, Anne-Kathrin Gummich, Judith Hofmann, Marcel Kohler, Max Riemelt, Emma Frieda Brüggler, Thomas Bading, Christine Schorn, Sandra Hüller, Alireza Bayram
Muzamil was only a newborn when a prophecy foretold his death at 20. His father is unable to live with this curse and abandons his family. Long resigned to his fate, the young man starts to question his preordained death when he meets Suleiman, a cameraman who has returned to the village of his birth. The Sudanese director won the Lion of the Future at the 2019 Mostra di Venezia.
Credits:
SD 2019, 105 Min., OmU Regie: Amjad Abu Alala Schnitt: Heba Othman Kamera: Sébastien Goepfert mit: Mustafa Shehata, Islam Mubarak, Mahmoud Elsaraj, Bunna Khalid
„The Good Boss” takes place in and around the Blancos Básculas factory, where all things must be in balance at all times. After all, they manufacture scales of all shapes and sizes. There, the seemingly benevolent boss, Bardem’s Blanco, is preparing his workforce for an upcoming inspection by a group visiting local businesses to select one for a prestigious prize. Tensions begin to mount, however, when recently fired employee Jose shows up with his two children and begins making demands for the reinstatement of his employment. When Blanco’s management team refuses, the employee begins a one man crusade to discredit Blanco and prevent him from winning the much-coveted award.
Credits:
El buen patrón ES 2021, 120 Min., span. OmU Drehbuch und Regie: Fernando León de Aranoa Schnitt: Vanessa Marimbert mit: Javier Bardem, Manolo Solo, Almudena Amor, Óscar de la Fuente, Sonia Almarcha Kamera: Pau Esteve Birba
A bunch of friends yearning for excitement broadcast a free radio station from their hometown in the countryside. Jerome leads it with unique charisma while Philippe, the technical genius, lives in the shadow of Jerome, his big brother. When called for the military service, Philippe has no choice but to leave for West Berlin. He’s determined to keep on broadcasting, but realizes that he just lived the last glorious moments of a world on the verge of extinction.
Die Magnetischen
Credits:
Les Magnétiques FR / DE 2021, 98 Min., frz. OmU Regie: Vincent Maël Cardona Kamera: Brice Pancot Schnitt: Flora Volpelière mit: Thimotée Robert, Marie Colomb, Joseph Olivennes, Meinhard Neumann
Trailer:
Magnetic Beats / Les Magnétiques (2021) – Trailer (English subs)
Yoko (played by the former leading member of the idolgirl groupAKB48, Atsuko Maeda) is the reporter for a television travel program who visits Uzbekistan with her television crew to make an episode for the program. She dreams of becoming a singer. The film contrasts Yoko’s upbeat on-camera persona with her internal conflicts when she is on her own.
The film consists of a series of episodes in which Yoko wades into a lake to describe looking for a possibly mythical Uzbeki fish; proclaims the delicious crunchiness of under-cooked rice in a bowl of plov, a local dish; repeatedly takes nausea-inducing turns on a fun-park pendulum ride until her camera crew can get enough B‑camera footage of her face; and tries to liberate a goat in captivity named Okoo only to learn that if she does, it will be eaten by wild dogs.
She and the crew visit Samarkand and Tashkent; in the latter, she sings the classic Édith Piaf anthem, Hymne à l’amour (with Japanese lyrics], in a fantasy sequence set at the Navoi Theatre which (as noted below) had been built after the war by Japanese POWs. During a visit to the bazaar, she wanders off with a hand-held camera and starts videotaping in a restricted area. She runs away from the police, who eventually apprehend her but treat her kindly, especially when she learns that her firefighter boyfriend may have been involved in a massive oil refinery fire in Tokyo Bay, where he was stationed. (The boyfriend is never actually seen or heard; all the audience learns about him comes from texts he exchanges with Yoko.)
In a finale set in the mountains, her crew once again in pursuit of a likely mythical beast, she again sings Hymne à l’amour as she imagines that she has caught sight of Okoo running free in the distance.
Credits:
Tabi no Owari Sekai no Hajimari (旅のおわり世界のはじまり) UZ 2019, 120 Min. japanisch, usbekische OmU Regie: Kiyoshi Kurosawa Kamera: Akiko Ashizawa Schnitt: Koichi Takahashi mit: Atsuko Maeda, Shota Sometani, Tokio Emoto, Adiz Rajabov, Ryo Kase
For as long as they can remember, the Solé family has spent every summer picking the peaches in their orchard in Alcarràs, a small village in Spain’s Catalonia region. But this year’s crop may well be their last, as they face eviction. The new plans for the land, which include cutting down the peach trees and installing solar panels, cause a rift in this large, tight-knit family. For the first time, they face an uncertain future and risk losing more than their orchard. After her beautiful debut Summer 1993, Carla Simón draws again on her experience of rural life in the Catalan countryside, where human activity is part of a cycle governed by seasons in a capricious climate. Family dynamics may be muddied by economic concerns, but there are also differences in how each individual relates to time. The younger ones enjoy a seemingly everlasting present while father bullishly ignores the imminent future, and grandfather is relying on a long-forgotten promise to prove ownership of their house … This variety is well-served by the natural performances of the ensemble cast and ensures that politically relevant themes are presented to us in a subtle manner. The family is only able to find common ground in tradition, which leaves us with a genuine discomfort about what lies ahead.
Goldener Bär – Berlinale 2022
Credits:
ES/IT 2022, 120 Min., katalanische Originalfassung mit deutschen und englischen Untertitlen Regie: Carla Simón Buch: Arnau Vilaró, Carla Simón Kamera: Daniela Cajías Schnitt: Ana Pfaff mit Jordi Pujol Dolcet, Anna Otin, Xènia Roset, Albert Bosch, Ainet Jounou, Josep Abad, Montse Oró, Carles Cabós, Berta Pipó
Trailer:
OmU-Trailer ALCARRÀS – DIELETZTEERNTE – ab 11. August im Kino
In the second part of her self-exploratory diptych, Joanna Hogg fully realizes the Proustian implications of filming her memories. In the beginning, it seems as if the film just took off where the first one stopped, but instead of moving on with the emotional rollercoaster ride, the mourning echo of Anthony’s absence now takes over and relates all actions to the question asked at the very beginning of the first film: how to film life? How to film what really happened? As Julia tries to cope with her life and make her graduation film about her relationship with Anthony, we rediscover cinema as a means to heal our wounds, not necessarily because everything works out, but because films and the exhausting ways of making them enable us to find new perspectives on existence. Rarely have the doubts of growing up merged so beautifully with finding one’s voice as an artist, such as in the sequences reminiscent of Hogg’s own first shorts when Julia gets lost in a Cocteau labyrinth of surreal memories and phantasies. This expressionist outburst stands in stark contrast to the casual and tender observations across the rest of the film, but also presents us with the discovery of a language that crosses the bridge between experience and film. (Patrick Holzapfel)
Credits:
GB 2021, 107 Min., engl. OmU Regie: Joanna Hogg Kamera: David Raedeker Schnitt :Helle le Fevre Mit Honor Swinton Byrne, Tilda Swinton, James Spencer Ashworth, Alice McMillan, Oli Bauer, Ariane Labed, Richard Ayoade
One winter’s day, Nena gathers her family together to celebrate her birthday. Everyone is there: her husband Umberto, her son Vito and her daughter Caterina with her cousin Isabella, her daughter-in-law Adelina and her ex-son-in-law Manfredi with his new girlfriend Joana, her granddaughter Alma, her maid Lucia with daughter Grazia. And then there is Paco, Alma’s peacock. While everyone waits for a lunch that will never be served, Paco becomes infatuated with a little dove in a painting. The tragedy inherent in the impossibility of this love distresses the whole family. All of the guests are impelled to think about their true feelings, about what remains and what is gone forever.
Mort Rifkin, a snobby elderly film critic from New York[disambiguation needed], is telling his therapist about the recent developments in his life. In the recount, he’s accompanying his much younger wife Sue to a film festival in San Sebastián. She works as a press agent for Philippe, a French director whose banal and derivative anti-war film is being universally celebrated as a masterpiece, to Mort’s chagrin. Mort quickly becomes jealous of Sue and Philippe’s relationship, which increasingly moves into open flirtation. Mort’s inner thoughts and fears causes him to have nightmares inspired by well-known black and white cinematic classics like Citizen Kane, Breathless, Jules and Jim, Persona, The Exterminating Angel, and 8½.
While at the festival, Mort reminisces about his life and the pretentious novel that he’s been writing for decades, trying to achieve a literary relevance that eludes him. He reflects upon his younger years when he used to teach cinema at the university and felt happy and stimulated. Meanwhile, he’s helpless to keep Sue and Philippe from spending time with each other. Eventually, he seeks medical advice about some chest pains and meets Joanna „Jo” Rojas, a Spanish doctor who spent some time in New York and is now unhappily married with an unfaithful, temperamental artist. Joanna leaves a lasting impression on Mort and he repeatedly tries to engage her attention by faking health issues. Eventually, the two go on a sight-seeing drive through the surrounding country, both having a good time in the process.
On their way back to town, a flat tire forces Joanna and Mort to hitchhike back to Joanna’s home, where she discovers her husband cheating on her with one of his models. The two have a bitter fight, then Joanna takes Mort back to his hotel. Here, Sue confronts Mort about their deteriorating relationship, eventually announcing she’s leaving him to start a new life with Philippe. The next morning, Mort calls Joanna, hoping to see her again before he has to return to New York, but she politely declines, despite harboring some affection for Mort and doubts about her own marriage’s toxicity.
Finally, Mort imagines himself playing chess with Death in a parody of Ingmar Bergman’s 1957 film The Seventh Seal. Death tells him that human life is ultimately meaningless, but doesn’t need to be empty. In a parting word of advice, Death tells Mort that he will see him again in the future, but Mort might win some extra time by making sure to exercise and to avoid processed foods. As the festival reaches its closing day, Mort reflects upon his changed circumstances, pondering to go back to be a teacher, this time with a less rigid attitude towards art. Back in New York, he asks his therapist what he should do now.
Credits:
ES/US/IT 2020, 92 Min., engl. OmU, Regie: Woody Allen Kamera: Vittorio Storaro Schnitt: Alisa Lepselter mit: Elena Anaya, Louis Garrel, Gina Gershon, Sergi López, Wallace Shawn, Christoph Waltz
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