Category Archives: archiv

Verabredungen mit einem Dichter – Michael Krüger

A film by Frank Wierke. In German.

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Michael Krüger was not only one of the most important publis­hers and litera­ry media­tors in Germany and world­wi­de – first and fore­mo­st he is a poet. We have an appoint­ment in the unof­fi­cial spaces whe­re poems and an uncon­ven­tio­nal, fate­ful life meet. “How a poem is real­ly made? If you knew, no more poems would be crea­ted. That’s very clear to me.”


DE 2022, 91 Min.,
Regie, Kamera und Schnitt: Frank Wierke

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A film by Carolin Schmitz. In German with English subtitles.

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Bewildering, amu­sing, insight­ful: Anke Engelke acts out eight authen­tic inter­views, assemb­ling them into a gigan­tic mosaic about motherhood.

This film tells of the joy and doubt, the power and power­less­ness, the anger and love invol­ved in mother­hood. It is at its heart a docu­men­ta­ry pro­ject: eight women aged bet­ween 30 and 75 talk about their lives as mothers. What all the­se women have in com­mon is their rea­liz­a­ti­on that mother­hood is a high­ly ambi­va­lent expe­ri­ence. For the film, the­se docu­men­ta­ry state­ments are brought tog­e­ther visual­ly in the form of a fic­tio­n­al cha­rac­ter por­tray­ed by Anke Engelke. The actress com­bi­nes the women’s reports into a laco­nic nar­ra­ti­ve about the ever­y­day life of a mother.


DE 2022, 88 Min., deut­sche OmeU
Regie & Buch: Carolin Schmitz
Kamera: Reinhold Vorschneider
Schnitt: Stefan Oliveira-Pita, Annett Kiener
mit: Anke Engelke

MUTTER von Carolin Schmitz mit Anke Engelke // Trailer
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Afilm by Blerta Basholli. In Albanian with German subtitles.

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Fahrije’s hus­band has been con­si­de­red mis­sing sin­ce the end of the war – like so many other men from her vil­la­ge in rural Kosovo. When she deci­des one day to get her dri­ver­’s licen­se so she can sell her home­ma­de sau­ces in town, she immedia­te­ly faces oppo­si­ti­on from her con­ser­va­ti­ve, patri­ar­chal vil­la­ge. Fahrije, howe­ver, is not intimi­da­ted and soon other women dare to help her in this revo­lu­tio­na­ry ven­ture. The film, which won three awards at Sundance, tells the sto­ry of a dar­ing woman who, against all the odds, builds a new exis­tence for herself and other women.


XK, CH, AL, MK 2021, 84 Min., alba­ni­sche OmU
Buch & Regie: Blerta Basholli
Kamera: Alex Bloom
Schnitt: Félix Sandri, Enis Saraçimit: Yllka Gashi, Çun Lajçi, Aurita Agushi, Kumrije Hoxha, Adriana Matoshi

HIVE | offi­zi­el­ler deut­scher Trailer | OmU
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Komm mit mir in das Cinema – Die Gregors

A film by Alice Agneskirchner. In German.

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The tit­le refers to the epony­mous 1937 poem by Else Lasker-Schüler, in which the poet wri­tes that “what once was: love” can be found at the cine­ma. Two deca­des on from this, it was a love of cine­ma that brought tog­e­ther two peop­le who signi­fi­cant­ly expan­ded – today one might say, diver­si­fied – the film histo­ry of post-war Germany, encom­pas­sing both the way films are view­ed as well as the dis­cour­se sur­roun­ding the medi­um: Erika and Ulrich Gregor.
Alice Agneskirchner’s docu­men­ta­ry fol­lows various paths to get right up clo­se to the foun­ders of Arsenal and the International Forum of New Cinema: on the one hand via the event­ful life of the cou­p­le, who have been mar­ried for over 60 years; on the other via tho­se who have accom­pa­nied them along the way, inclu­ding such pro­mi­nent figu­res as Jutta Brückner, Wim Wenders and Jim Jarmusch. The films of which the Gregors are par­ti­cu­lar­ly fond and to which they gave their full backing are also cen­tral, as the duo beco­mes reac­quain­ted with Claude Lanzmann’s Shoah, István Szabó’s Apa and Helke Sander’s Die all­sei­tig redu­zier­te Persönlichkeit – Redupers. This is not only a film about love and cine­ma but also a pie­ce of West German history.


DE 2021, 155 Min.
Regie & Buch: Alice Agneskirchner
Kamera: Jan Kerhart
Schnitt: Silke Botsch
mit Erika Gregor, Ulrich Gregor

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Das Glücksrad – Wheel of fortune and fantasy

A Film by Ryusuke Hamaguchi. In Japanese with German subtitles.

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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.


JP 2021, 121 Min., jap. OmU
Regie & Schnitt: Ryusuke Hamaguchi
Kamera: Yukiko Iioka
Kotone Furukawa, Kiyohiko Shibukawa, Katsuki Mori, Fusako Urabe, Aoba Kawai, Ayumu Nakajima, Hyunri, Shouma Kai

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Alle reden übers Wetter

A film by Annika Pinske. In German with English subtitles.

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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.


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

Alle reden übers Wetter (offi­zi­el­ler Trailer)
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Mit 20 wirst Du sterben

A film by Amjad Abu Alala. In Arabic with German subtitles.

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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.


SD 2019, 105 Min., OmU
Regie: Amjad Abu Alala
Schnitt: Heba Othman
Kamera: Sébastien Goepfert
mit: Mustafa Shehata, Islam Mubarak, Mahmoud Elsaraj, Bunna Khalid

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Der perfekte Chef

A film by Fernando León de Aranoa. In Spanish with German subtitles.

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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.


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

Der per­fek­te Chef Trailer OmU
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Die Magnetischen

A film by Vincent Maël Cardona. In French with German subtitles.

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Brittany, 1980s.

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.


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

Magnetic Beats / Les Magnétiques (2021) – Trailer (English subs)
Im Kino mit deut­schen Untertiteln
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To the Ends of the Earth

A film by Kiyoshi Kurosawa. In Japanese and Uzbek with German subtitles.

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Yoko (play­ed by the for­mer lea­ding mem­ber of the idol girl group AKB48, 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.


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

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