Category: archiv

A film by Jenna Hasse. In French with German subtitles.

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“What do you like over the­re?” – “That it’s 100,000 km from here.”

Fourteen-year-old Margaux drifts dre­a­mi­ly bet­ween her father’s new flat and the children’s group home whe­re she is spen­ding her sum­mer as an intern. To the dis­con­tent of the adults, she strikes an unu­su­al but ten­der bond with seven year old half-orphan Juliette. When the two meet local fisher­man Joël during one of their secret strolls, Margaux expe­ri­en­ces the enig­ma­tic fee­ling of an inten­se lon­ging for dis­co­ve­ring the world. Modestly reser­ved, howe­ver atten­ti­ve, she expe­ri­en­ces the first traces of attrac­tion. Among the reflec­tions of Lake Geneva, the three unli­kely com­pa­n­ions will learn more about fishing, Indonesian legends and herons, and about how fri­end­ship can unfold in unex­pec­ted ways.

Credits:

CH 2023, 76 Min., frz. OmU
Regie: Jenna Hasse
Kamera: Valentina Provini
Schnitt: Noémie Fy
mit: Clarisse Moussa, Esin Demircan, Marc Oosterhoff, Adèle Vandroth, Pierre Mifsud, Mélanie Doutey, Filipe Vargas, Théo Rossi, Hadrien Motta, Elias Alves, Maël Ney

Trailer:

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A film by Andrea Segre. In Italian with German subtitles.

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Pietro and Alvise come from a long line of fishing fami­lies from Giudecca, Venice’s most ‚working-class‘ island. But they don’t see eye to eye on the see­mingly unstoppable trans­for­ma­ti­on of the lives of the Venetians and the city­’s very iden­ti­ty. Indeed, the far-rea­ching impact of glo­bal tou­rism has chan­ged the rela­ti­onship bet­ween Venice and its resi­dents, and the pan­de­mic has only thrown this cri­ti­cal situa­ti­on into reli­ef. Pietro would just like to keep fishing the typi­cal crabs found in the Lagoon, lonely as that life­style is, while Alvise belie­ves their home on the Giudecca its­elf is the ticket to joi­ning the eli­te mana­ging the city­’s real estate assets, hence run­ning Venice. This clash of views will invol­ve the enti­re fami­ly, in an ensem­ble film about how our world is changing.

Credits:

IT 2021, 100 Min.,
Regie: Andrea Segre
Kamera: Matteo Calore
Schnitt: Chiara Russo
mit: Paolo Pierobon, Andrea Pennacchi, Ottavia
Piccolo, Roberto Citran, Sara Lazzaro

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A film by Valeria Bruni Tedeschi. In French with German subtitles.

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It’s the end of the 80s in Paris, a young trou­pe of come­di­ans have just been admit­ted to Les Amandiers, the pres­ti­gious thea­ter school hea­ded by Patrice Chéreau. They set out in life and in their ear­ly care­er. Along the way, they will learn, act, love, fear, live to the ful­lest and also expe­ri­ence their first tragedies.

Credits:

Les Amandiers
FR 2022, 126 Min, frz. OmU
Regie: Valeria Bruni Tedeschi
Kamera: Julien Poupard
Schnitt: Anne Weil
mit: Louis Garrel, Sofiane Bennacer, Nadia
Tereszkiewicz, Micha Lescot, Clara Bretheau

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A film by Emad Aleebrahim Dehkordi.

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Shemroon, north of Tehran. Iman and his youn­ger brot­her, Payar, live tog­e­ther with their father. After the death of their mother, Iman seeks for a way out of an uproo­ted life. Thanks to his con­nec­tions with the gild­ed youth of the city, he starts a busi­ness to make some quick pro­fit. What seems at first an oppor­tu­ni­ty for a new begin­ning turns into a twis­ted cycle affec­ting the family’s destiny.

Credits:

A Tale of Shemroon
FR/DE/IR/IT 2022, 102 Min. far­si OmU
Regie: Marion Desseigne Ravel
Kamera: Amin Jafari
Schnitt: Félix Rehm
mit: Iman Sayad Borhani, Payar Allahyari, Masoumeh Beygi, Ehzad Dorani

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A film by Marion Desseigne Ravel. In French with German subtitles.

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Nedjma and Zina belong to rival girl gangs in the Parisian Banlieue. Ever sin­ce Zina sang at the youth cen­ter, 18 year old Nedjma finds hers­elf gra­vi­ta­ting towards her. Nedjma and Zina secret­ly get closer.

Credits:

Les meil­leu­res
FR 2021, 80 Min. frz. OmU
Regie & Buch: Marion Desseigne Ravel
Kamera: Lucile Mercier
Schnitt: Julie Picouleau, Elif Uluengin
mit: Lina El Arabi, Esther Rollande, Leila, Mahia Zrouki, Tasnim Jamlaoui

Trailer:

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A film by Volker Koepp.

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In Uwe Johnson’s last stu­dy in the English town of Sheerness, the­re was a map of Mecklenburg on the wall – the regi­on of his child­hood to which he never retur­ned after his emi­gra­ti­on to the West and could only recon­s­truct in the lite­ra­ry sen­se after­wards. Volker Koepp’s film is con­cei­ved as a geo­bio­gra­phy: he tra­vels with Johnson’s texts to places from the author’s life, fin­ding peo­p­le and land­scapes con­nec­ted to his work and his per­son, some­ti­mes clo­se­ly, some­ti­mes more loo­se­ly. Koepp’s and Johnson’s poe­tic pro­jects intert­wi­ne: their land­scapes and bio­gra­phies resist line­ar pro­gres­si­on; histo­ry remains stored in them only to reve­al its­elf again and again. For Johnson, when he swims in the Baltic Sea, the dead are pre­sent, floa­ting in the Bay of Lübeck after the 1945 sin­king of the Cap Arcona. Koepp speaks with a woman who recalls how holi­day­ing in Italy evo­ked thoughts of tho­se fle­e­ing across the Mediterranean by boat. Johnson’s sor­row at the inva­si­on of Prague by Warsaw Pact tro­ops is mir­rored in Russia’s ongo­ing attack on Ukraine, which affects the film­ing. When a river flows slow­ly, it can chan­ge direc­tion with even just a litt­le wind and return to its source.

Credits:

DE 2023, 168 Min. deut­sche OmeU
Regie: Volker Koepp
Schnitt: Christoph Krüger
Kamera: Uwe Mann
mit Stuart Roberts, Judith Zander, Erhard Siewert, Peter Kurth, Hans-Jürgen Syberberg, Helga Elisabeth Syberberg, Aukje Dijkstra, Undine Spillner, Fritz Rost, Heinz Lehmbäcker, Hanna Lehmbäcker, Dietrich Sagert, Kristian Wegscheider, Christian Höser, Thomas Irmer, Uta Löber, Erdmut Wizisla, Karin Bosinski, Hartmut Bosinski

Trailer:

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A film by Claire Denis. 

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Sara and Jean have been in a loving, sta­ble rela­ti­onship for ten years. They are hap­py. He is her rock, someone she can hold on to. When they first met, Sara was in a rela­ti­onship with François, Jean’s best fri­end. One day, Sara sees François on the street. He does not see her, but she is over­whel­med by a sen­sa­ti­on that her life could sud­den­ly chan­ge. François does inde­ed get in touch with Jean to sug­gest that they work tog­e­ther again. Before long, things are in dan­ger of spi­ral­ling out of con­trol.
Avec amour et acharne­ment is Claire Denis’s third col­la­bo­ra­ti­on with acclai­med wri­ter Christine Angot, with whom she wro­te Un beau sol­eil inté­ri­eur, which also star­red Juliette Binoche. In a per­for­mance that is just as bra­ve and com­mit­ted, the actor pro­ves to be excep­tio­nal­ly sup­p­le as her body beco­mes the ter­rain for a cap­ti­vat­ing theat­re of emo­tio­nal oppo­si­tes. Eric Gautier’s pre­cise cine­ma­to­gra­phy shows us con­tras­ting images of fin­gers com­for­ta­b­ly intert­wi­ned, but also Sara’s enti­re body in for­ward moti­on, erupt­ing in deep, uncon­troll­able moans. Encircled by a wall of pas­sio­na­te fla­mes, Denis’s prot­ago­nists appear to be under sie­ge, see­mingly obli­vious to socie­ty and its inex­orable ten­den­cy to sepa­ra­te all things into oppo­sing categories.

Credits:

Avec amour et acharne­ment
FR 2022, 116 Min., frz. OmU
Regie: Claire Denis
Kamera: Eric Gautier
Musik: Tindersticks
Schnitt: Emmanuelle Pencalet, Sandie Bompar, Guy Lecorne
mit Juliette Binoche, Vincent Lindon, Grégoire Colin, Issa Perica, Bulle Ogier, Mati Diop

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A film by Tanja Egen. In German with English subtitles.

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Actor Nina tra­vels to her home town in Germany’s Ruhr regi­on for her grandmother’s fun­e­ral and dis­co­vers that her child­hood home has remain­ed vir­tual­ly unch­an­ged. The cana­ry still chirps in the living room, her mother still sits in the kit­chen pit­ting kilos of plums from the gar­den, and her father still occa­sio­nal­ly indul­ges in a whis­ky from the “bot­tom shelf next to the diges­tif glas­ses”. But when the date for the fun­e­ral is post­po­ned, ten­si­ons fla­re up again bet­ween the prag­ma­tic mother and her cos­mo­po­li­tan daugh­ter who now lives in a lar­ge European city and con­siders the offer of a role in German TV soap Traumschiff (Dreamboat) to be beneath her. And kind­ly old grand­ma is no lon­ger the­re to cushion such con­flicts.
Directed with gent­le humour, DFFB gra­dua­te Tanja Egen’s per­cep­ti­ve fea­ture debut is much more than just a tale of such clas­sic fami­ly pro­blems as repres­sed emo­ti­ons, things that remain uns­po­ken and a gro­wing sen­se of distance. Rich in detail, Geranien is an affec­tion­a­te obser­va­ti­on of the com­plex rela­ti­onships that exist bet­ween daugh­ters and mothers – no mat­ter how old a daugh­ter and a mother may be. Loss, it seems, is a uni­ver­sal feeling.

Credits:

DE 2023, 83 Min., Deutsch OmeU
Regie: Tanja Egen
Kamera: Claudia Schröder
Schnitt: Nicolas Dusollier
mit Friederike Becht, Marion Ottschick, Peer Martiny, Jasmina Musić, Stefanie Meier, Aleksandra Ćorović, Adi Hrustemović, Oliver Möller, Bruno Kirchhof

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A film by Laura Citarella. In Spanish with German subtitles.

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Laura Citarella makes a poignant and whim­si­cal ent­ry into the ranks of New Argentine cine­ma with her latest, expan­si­ve­ly nar­ra­ted fea­ture TRENQUE LAQUEN. Fans of Argentine direc­tors such as Mariano Llínas and Alejo Moguillansky, who share the film’s screen­wri­ting and editing cre­dits respec­tively, will reco­gni­ze the cha­rac­te­ristic rich­ly mean­de­ring sto­rytel­ling, which draws on mul­ti­ple quir­ky cha­rac­ters and a healt­hy dose of meta-humor and self-iro­ny. In Part I, Laura (Laura Paredes, who co-wro­te the script), the film’s prot­ago­nist, goes miss­ing, sen­ding her prag­ma­tic jil­ted boy­fri­end and her stone-faced, yet infi­ni­te­ly sen­si­ti­ve co-worker on a quest to find her. Laura is a woman of two-pron­ged pas­si­ons: a dedi­ca­ted plant rese­ar­cher, she beco­mes ent­ran­ced with a sto­ry of a high­ly ero­tic and tor­men­ted love affair bet­ween a young fema­le bio­lo­gist and a mar­ried man. TRENQUE LAQUEN I takes view­ers on a jour­ney through the epony­mous pro­vin­cial muni­ci­pa­li­ty sou­thwest of Buenos Aires, during which ordi­na­ry land­scapes, under­sta­ted pit­s­tops and situa­tions are tur­ned into the sta­ti­ons of an engros­sing mys­tery. At its heart lies the human year­ning for the extra­or­di­na­ry: an exis­ten­ti­al dis­co­very plot that could fore­ver chan­ge our lives. (Ela Bittencourt)

Credits:

AR/DE 2022, Teil 1: 128 Min./Teil 2: 132 Min., span. OmU,
Regie: Laura Citarella
Kamera: Agustín Mendilaharzu, Inés Duacastella, Yarará Rodriguez,
Schnitt: Miguel de Zuviría, Alejo Moguillansky,
mit Laura Paredes, Ezequiel Pierri, Rafael Spregelburd, Elisa Carricajo, Juliana Muras, Verónica Llinás, Cecilia Rainero u. a.

Trailer:

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A film by Jean-Luc Godard. In French with German subtitles.

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A 1963 French New Wave dra­ma film writ­ten and direc­ted by Jean-Luc Godard, based on the 1954 Italian novel Il disprez­zo (A Ghost at Noon) by Alberto Moravia.[6] It stars Brigitte Bardot, Michel Piccoli, Jack Palance, and Giorgia Moll.
Plot

Paul Javal, a young French play­w­right who has found com­mer­cial suc­cess in Rome, accepts an offer from vul­gar American pro­du­cer Jeremy Prokosch to rework the script for German direc­tor Fritz Lang’s screen adapt­a­ti­on of the Odyssey.

Paul’s wife, Camille Javal, joins him on the first day of the pro­ject at Cinecittà. As the first dis­cus­sions are com­ple­ted, Prokosch invi­tes the crew to join him at his vil­la, offe­ring Camille a ride in his two-seat sports­car. Camille looks to Paul to decli­ne the offer, but he sub­mis­si­ve­ly with­draws to fol­low by taxi, lea­ving Camille and Prokosch alo­ne. Paul does not catch up with them until 30 minu­tes later, explai­ning that he was delay­ed by a traf­fic acci­dent. Camille grows unea­sy, secret­ly doubting his hones­ty and suspec­ting that he is using her to cement his ties with Prokosch. Her mis­gi­vings are heigh­ten­ed when she sees Paul gro­pe Prokosch’s secre­ta­ry, Francesca. Back at their apart­ment, Paul and Camille dis­cuss the subt­le unea­si­ness that has come bet­ween them in the first few hours of the pro­ject, and Camille sud­den­ly announ­ces to her bewil­de­red hus­band that she no lon­ger loves him.

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Credits:

FR. 1963, 105 Min., frz. OmU
Regie: J.-L. Godard
Kamera: Raoul Coutart
mit: Michel Piccoli, Brigitte Bardot, Jack Palance, Fritz Lang, Francesca Vanini, Georgia Moll

Trailer:

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