United by the unexpected inheritance of a house in Normandy, four estranged cousins discover their family history. While exploring the house, left untouched since the 1940s, they excavate the life of their ancestor, Adèle Vermillard, a 20 year old woman who lived there in 1895. The end of the 19th century saw the birth of both photography and the Impressionist movement, which profoundly changed painting. Through back-and-forth journeys between 1895 and 2025, they find in the relics of the past what will help them better envision their own future.
Credits:
La venue de l’avenir FR 2024, 124 Min., französische OmU Regie: Cédric Klapisch Kamera: Alexis Kavyrchine Schnitt: Anne-Sophie Bion mit: Suzanne Lindon, Vincent Macaigne, Cécile de France, Paul Kircher, Julia Piaton, Vassili Schneider, Vincent Perez
Former power plant worker Wilma, who survived two political systems, faces a fresh start. After living her entire life in the rural lignite mining area (Ex-GDR), she left her village in the late 1990s when her world crumbled. Escaping to Vienna, she wants to rebuild her life. Old dreams of a better society resurface, and she embraces them with renewed energy, determined to create new paths for herself.
Credits:
DE 2025, 112 Min., Regie: Maren-Kea Freese Kamera: Michael Kotschi Schnitt: Andrea Muñoz Darsteller*innen: Fritzi Haberlandt, Thomas Gerber, Stephan Grossmann, Xenia Snagowski, Katrin Schwingel, Isabel Schosnig
Trailer:
Kinotrailer „Wilma will mehr” – Kinostart 31. Juli 2025
La Haine opens with a montage of news footage depicting urban riots in a banlieue in the commune of Chanteloup-les-Vignes near Paris. In the aftermath of the riots, a local man named Abdel Ichaha is gravely injured in police custody and is in intensive care. The riots escalate, leading to a siege of the local police station and the loss of a police officer’s revolver. The film follows the lives of three friends of Abdel, who are all young men from immigrant families, over approximately twenty consecutive hours.
Vinz, a young Jewish man with an aggressive temperament, seeks revenge for Abdel’s condition. He harbors a deep hatred for all police officers and secretly emulates Travis Bickle from Taxi Driver in front of his bathroom mirror. Hubert, an Afro-French boxer and small-time drug dealer, aspires to escape the banlieue and create a better life for himself. However, his boxing gymnasium was destroyed in the riots. Saïd, a young North African Muslim, acts as a mediator between Vinz and Hubert who constantly argue.
The three friends lead a directionless daily routine and frequently find themselves under police surveillance. At a rooftop party which is broken up by the police, Vinz insults a plainclothes police officer. After the trio leaves, Vinz reveals that he has discovered the .44 Magnum revolver lost during the riot. He plans to use it to kill a police officer if Abdel dies. While Hubert disapproves, Vinz secretly takes the gun with him. They try to visit Abdel in the hospital but are stopped by the police. Saïd is arrested after they aggressively refuse to leave, but he is later released with the assistance of a police officer who knows his brother.
A disagreement arises between Vinz and Hubert regarding their perspectives on policing and violence, leading them to part ways temporarily. Saïd accompanies Vinz, while Hubert briefly returns home. They reunite at another gathering in the banlieue, which quickly descends into chaos when Abdel’s brother attempts to murder a police officer as an act of revenge. This triggers a confrontation with the police, and the group narrowly escapes after Vinz almost shoots a riot officer. They board a train to Paris, where their interactions with both friendly and hostile Parisians escalate several situations into dangerous confrontations.
In a public restroom, they encounter a Polish survivor of the gulag who tells them a story about a man who froze to death after he refused to relieve himself in public near the train and then failed to re-board in time. The trio is perplexed by the meaning of the story.
Later, they visit Astérix, a frequent cocaine user who owes money to Saïd. This visit leads to a violent confrontation, as Astérix appears to force Vinz to play Russian roulette, although the gun is secretly unloaded. They encounter sadistic plainclothes police officers who arrest Saïd and Hubert while Vinz manages to escape. The police officers verbally and physically abuse the duo before imprisoning them until late at night, causing the three friends to miss the last train from Saint-Lazare station and spend the night on the streets.
After being kicked out of an art gallery and failing to hotwire a car, the trio takes shelter in a shopping mall. They hear from a news broadcast that Abdel has died. They make their way to a rooftop, where they insult skinheads. However, they encounter the same group of skinheads who mercilessly attack Saïd and Hubert. Vinz intervenes, holding one of the skinheads at gunpoint. Despite Hubert pushing Vinz to execute him, Vinz hesitates and ultimately lets the skinhead go.
In the early morning, the trio returns home, and Vinz hands the gun over to Hubert. Vinz and Saïd encounter the officer whom Vinz had insulted at the rooftop party. The officer seizes Vinz, threatening him with a loaded gun against his head. Hubert rushes to their aid, but the officer accidentally discharges his gun, killing Vinz. A tense standoff ensues between Hubert and the officer, as Saïd closes his eyes. A single gunshot is heard, leaving it unclear who fired the shot or who may have been struck.
This climactic standoff is accompanied by a voice-over of Hubert’s slightly modified opening lines („It’s about a society in free fall…”) and the recurring phrase jusqu’ici tout va bien („so far so good”). The film portrays a microcosm of French society’s descent from hostility into senseless violence, emphasizing that despite appearances, all is not well and the future remains uncertain. Wikipedia
Credits:
FR 1995, 98 Min., franz. OmU Regie und Buch: Mathieu Kassovitz Kamera: Pierre Aïm Schnitt: Mathieu Kassovitz, Scott Stevenson mit: Vincent Cassel, Hubert Kounde, Said Taghmaoui
The profound cultural influence of the composer, performer and interdisciplinary artist Meredith Monk is often overlooked. As a female artist, she had to fight for recognition and resources in the male-dominated art scene of downtown New York of the 1960s and 1970s. Early reviews in “The New York Times” were vicious and sexist, with Clive Barnes calling her “a disgrace to the name of dancing” and John Rockwell opining that she was “so earnestly strange in a talented little-girl way”. And yet, as her celebrated contemporary Philip Glass says: “She, among all of us, was – and still is – the uniquely gifted one.” Monk in Pieces is a mosaic that mirrors the structure of her own work and illuminates her wildly original vocabulary of sound and imagery. In the film’s final chapters, Monk confronts mortality. We see her warily entrust her masterpiece “Atlas” to the director Yuval Sharon and singer Joanna Lynn-Jacobs for a new production with the Los Angeles Philharmonic. For 60 years, Monk has directed and performed in all her works; now she must learn to let go. What will happen to such singular creations after she is gone?
Credits:
US/DE/FR 2025, 93 Min., engl. OmU Regie: Billy Shebar, David Roberts Kamera: Jeff Hutchens, Ben Stechschulte Schnitt: Sabine Krayenbühl
Gustavo loses the harmony in his life when his wife leaves him, he loses his home and an injury prevents him from continuing his work: teaching yoga. Between tremors, robberies, hospitals, motorcycles, couple’s therapy, yoga retreats, anti-inflammatories and antidepressants, Gustavo will try to avoid the fall. THEPRACTICE is a naturalistic and delirious comedy about the drama of approaching 50.
Credits:
US/AR/CL/PT 2023, 93 Min. spanische OmU, Regie: Martín Rejtman Kamera: Hugo Azevedo Schnitt: Frederico Rotstein mit: Esteban Bigliardi, Manuela Oyarzún, Amparo Noguera, Camila Hirane, Gabriel Cañas
A father (Sergi López) and his son arrive at a rave deep in the mountains of southern Morocco. They’re searching for Mar — daughter and sister — who vanished months ago at one of these endless, sleepless parties. Surrounded by electronic music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading but they push through and follow a group of ravers heading to one last party in the desert. As they venture deeper into the burning wilderness, the journey forces them to confront their own limits.
Credits:
ES/FR 2025, 120 Min., span., frz. OmU Regie: Oliver Laxe Kamera: Mauro Herce Schnitt: Cristóbal Fernández Musik: Kangding Ray mit: Sergi López, Bruno Núñez, Stefania Gadda, Joshua Liam Henderson
Trailer:
Sirât | Trailer | Oliver Laxe | Sergi López | Bruno Nuñez
Milk has been an unprofitable commodity for a while now. Farming in general is suffering, and more and more farms are having to close. But Katinka is holding on to the family business, is being trained in farming, and is seeking her future in a place that remembers how things once were.
Credits:
DE 2024, 78 Min., deutsche Fassung Regie: Justine Bauer Kamera: Pedro Carnicer Schnitt: Semih Korhan Güner, Justine Bauer mit: Johanna Wokalek, Pauline Bullinger, Anne Nothacker, Sara Nothacker, Lore Bauer
In four seasons nature completes its cycle. A girl can become a woman. A belly can swell and become a creature. One can lose the path that led safely home, one can sail seas towards unknown lands. In four seasons one can die and be reborn. Vermiglio tells of the last year of the Second World War in a large family and how, by a paradox of fate, with the arrival of a refugee soldier it loses its peace at the very moment in which the world finds its own.
Credits:
IT/FR/BE 2024, 119 Min., ital. OmU Regie: Maura Delpero Kamera: Mikhail Krichman Schnitt: Luca Mattei mit: Tommaso Ragno, Giuseppe De Domenico, Roberta Rovelli, Martina Scrinzi, Orietta Notari, Carlotta Gamba
The film follows Amber Kumar Gurung and Guna Raj Kuikel, two Bhutanese bureaucrats, in their travels through the small Himalayan kingdom as census workers, measuring people’s happiness levels. They work for the Center for Gross National Happiness, a government institution which is tasked with collecting data on the citizens‘ happiness. This data is then used to inform the constitutionally-mandated goal of increasing national happiness.[5]
Along the way we meet Bhutan’s everyday people, such as a transgender bar singer, a wealthy farmer and his three wives, a teenage girl who worries about her mother’s alcoholism, or a recent widower who finds solace in religion. Through them we get a glimpse into the Bhutanese society and their views on happiness in face of adversity. We also explore Amber’s dreams and ambitions, primarily among them the dream of finding love.
After escaping from gym class, Simon finds himself on the banks of a river with a group of teenagers. Amidst the air mattresses and pointless chatter, time passes as sluggishly as the river water. Only when Marie appears and both are catapulted into the nearby riverside forest by an unexpected incident they escape the lethargic group and enter the timeless realm of the enchanted landscape.
„I would like to give a glimpse of something that counters the existential loneliness of our human present. Ultimately, redemption lies in the encounter.” Willy Hans
Credits:
DE/CH 2024, 94 Min., dt. OmeU Regie & Schnitt: Willy Hans Kamera: Paul Spengemann mit: Leo Konrad Kuhn, Alva Schäfer, Shadi Eck, Felix Maria Zeppenfeld, Darja Mahotkin, Marlene Becker u. a.
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