Category: archiv

A film by Elsa Kremser and Levin Peter. In Russian, Belarusian, English, Mandarin with German subtitles.

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A Belarusian model dre­a­ming of a care­er in China finds hers­elf drawn to a mys­te­rious loner who works the night shift at a mor­gue. Their encoun­ter unsett­les her sen­se of body, beau­ty, and mor­ta­li­ty. The fra­gi­le love sto­ry of two out­si­ders who turn each other’s worlds upsi­de down and dis­co­ver that they are not alone.

Credits:

DE/AT 2025, 115 Min., Russian, Belarusian, English, Mandarin OmU
Regie: Elsa Kremser, Levin Peter
Kamera: Mikhail Khursevich
Schnitt: Stephan Bechinger
mit: Marya Imbro, Mikhail Senkov

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A film by Ildikó Enyedi. In German and English with German subtitles.

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In the heart of a bota­ni­cal gar­den in a medieval uni­ver­si­ty town in Germany stands a maje­s­tic gink­go tree. This silent wit­ness has obser­ved over a cen­tu­ry the quiet rhyth­ms of trans­for­ma­ti­on across three human lives.
2020, a neu­ro­sci­en­tist from Hong Kong, explo­ring the mind of babies, beg­ins an unex­pec­ted expe­ri­ment with the old tree.
1972, a young stu­dent is pro­found­ly chan­ged by the simp­le act of obser­ving and con­nec­ting with a gera­ni­um.
1908, the university’s first fema­le stu­dent dis­co­vers, through the lens of pho­to­gra­phy, sacred pat­terns of the uni­ver­se hid­den within the hum­blest of plants.
We fol­low their clum­sy, awk­ward attempts to con­nect — each one of them deep­ly roo­ted in their own pre­sent — as they are trans­for­med by the quiet, endu­ring, and mys­te­rious power of natu­re. The anci­ent gink­go tree brings us clo­ser to what it means to be human — to our lon­ging to belong.

Credits:

DE/HU/FR 2025, 147 Min., deutsch, eng­li­sche OmU
Regie: Ildikó Enyedi
Kamera: Gergely Pálos
Schnitt: Károly Szala
mit: Tony Leung Chiu-wai, Luna Wedler, Enzo Brumm, Sylvester Groth, Martin Wuttke, Johannes Hegemann, Rainer Bock, Marlene Burow, Léa Seydoux

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A film by Jafar Panahi. In Farsi with German subtitles.

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Vahid, who was once impri­so­ned and tor­tu­red by the Iranian aut­ho­ri­ties, meets a man he belie­ves to have been his most sadi­stic tor­tu­rer. He can’t be sure though, as he was blind­fold­ed during the inter­ro­ga­ti­ons. Intent on vio­lent reven­ge but afraid of hur­ting an inno­cent per­son, he kid­naps the man and asks ano­ther for­mer inma­te to cor­rob­ora­te his sus­pi­ci­on. Neither abso­lut­e­ly con­fi­dent, they deci­de to track down other sur­vi­vors. The group keeps gro­wing as they dri­ve around in Vahid’s van with their pri­soner in tow, despera­te­ly pur­suing a cer­tain­ty that remains just bey­ond reach. A taut thril­ler nuan­ced by an under­cur­rent of absur­dist far­ce, YEK TASADOF‑E SADEH, win­ner of this year’s Palme d’Or, is Jafar Panahi’s most out­spo­ken and expli­cit­ly poli­ti­cal film to date. That it was made after he was hims­elf released from Tehran’s noto­rious Evin Prison gives the sto­ry an obvious auto­bio­gra­phi­cal dimen­si­on. Yet its moral impli­ca­ti­ons extend bey­ond the per­so­nal to encom­pass all of Iranian socie­ty in the wake of the Woman, Life, Freedom pro­tests. Now that new free­doms have been achie­ved, ope­ning an unpre­ce­den­ted win­dow of oppor­tu­ni­ty, the film sets the desi­re for ven­ge­an­ce against the impe­ra­ti­ve to keep pushing for­ward. (Giovanni Marchini Camia)

Credits:

Yek tasa­def sadeh یک تصادف ساده,
IR/FR/LU 2025, 102 Min., far­si OmU
Regie: Jafar Panahi
Kamera: Amin Jafari
Schnitt: Amir Etminan
mit: Vahid Mobasseri, Maryam Afshari, Ebrahim Azizi, Hadis Pakbaten

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A film by François Ozon. In French with German subtitles.

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Algiers, 1938. Meursault, a quiet and unas­sum­ing employee in his ear­ly thir­ties, attends his mother’s fun­e­ral wit­hout shed­ding a tear. The next day, he beg­ins a casu­al affair with Marie, a work col­le­ague, and quick­ly slips back into his usu­al rou­ti­ne.
However, his dai­ly life is soon dis­rupt­ed by his neigh­bour, Raymond Sintès, who draws Meursault into his shady dealings — until, on one blis­te­rin­gly hot day, a tra­gic event occurs on a beach.

Credits:

L’Étranger
FR 2025, 120 Min., fran­zö­si­sche OmU
Regie: François Ozon
Kamera: Manu Dacosse
Schnitt: Clément Selitzki
mit: Benjamin Voisin, Rebecca Marder, Pierre Lottin, Denis Lavant, Swann Arlaud

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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.

Credits:

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 Edward Yang. Re-release. In Mandarin and Japanese with German subtitles.

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The Taiwanese film­ma­ker Edward Yang shows in his film Yi Yi – A One and a Two the life of a fami­ly in modern Taipei. NJ is a man in his mid-for­ties. He is mar­ried, a father of two child­ren and suc­cessful in his job – still he is no lon­ger hap­py with hims­elf and with his life.

While NJ starts seing his old fla­me again his mother-in-law is in a coma. It is NJ’s eight year old son who gui­des us through ever­y­day life of the fami­ly and who asks cri­ti­cal ques­ti­ons and sur­pri­ses the spec­ta­tors with his expe­ri­ments in the water. The older sis­ter has her first expe­ri­en­ces with love and lear­ns that one can not force felicity.

Credits:

Yi Yi – A One and a Two
TW/JP 2000, 173 Min., Taiwanesisches Mandarin, Japanisch OmU
Regie: Edward Yang
Kamera: Weihan Yang
Schnitt: Bowen Chen
mit Kelly Lee, Jonathan Chang, Niazhen Wu, Elaine Jin, Issey Ogata

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A film by Hafsia Herzi. In French and Arabic with German subtitles.

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Fatima, 17, the youn­gest of three daugh­ters, treads careful­ly as she sear­ches for her own path, grap­pling with emer­ging desi­res, her attrac­tion to women, and her loyal­ty to her caring French-Algerian fami­ly. Starting uni­ver­si­ty in Paris, she dates, makes fri­ends, and explo­res a who­le new world, all while con­fron­ting a tim­e­l­ess and heart­ren­ding dilem­ma: How can one stay true to ones­elf when recon­ci­ling dif­fe­rent parts of one’s iden­ti­ty feels impossible?

Credits:

La peti­te der­niè­re
DE/FR 2025, 106 Min., Französisch, Arabisch OmU
Regie: Hafsia Herzi
Kamera: Jérémie Attard
Schnitt: Géraldine Mangenot
mit Nadia Melliti, Ji-Min Park, Aloïse Sauvage, Nemo Schiffman, Sophie Garagnon

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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.

Credits:

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

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A film by Eva Victor. In English with German subtitles.

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Something bad hap­pen­ed to Agnes. But life goes on… for ever­yo­ne around her, at least.

Credits:

US 2025, 103 Min., engl. OmU
Regie: Eva Victor
Kamera: Mia Cioffi Henry
Schnitt: Randi Atkins, Alex O’Flinn
mit: Eva Victor, Naomi Ackie, Louis Cancelmi, Kelly McCormack, Lucas Hedges, John Carroll Lynch

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