Setting: a workshop. When it comes to Thomas Schütte’s larger than life sculptures, the work is hands on – and on an impressive scale. Sanding, sawing and milling are the order of the day. The artist, with a cigarette hanging out of his mouth, moulds the eyes of a figure with his own hands or sometimes uses computer simulation. Regardless of the machinery, technology or material, it becomes clear: art is hard work. Anja Klauck
Credits:
DE 2023, 94 Min., engl., franz. deutsche OmU Regie: Corinna Belz Schnitt: Rudi Heinen Kamera: David Wesemann, Jule Katinka v. Cramer
Based on the eponymous novel by Andreas Malm, this thriller revolves around the sabotage carried out by a group of militant ecological activists. People are gathering in the desert. They’re there to prepare a mission: some have already felt the effects of environmental pollution, others are frustrated climate activists for whom radical methods appear the only means of protesting against the climate catastrophe. Their plan is to sabotage a pipeline to knock the oil business off balance and thus ensure change, where other forms of resistance have already exhausted their usefulness. The film is a variation on a heist thriller and a psychological study of activists between personal concern, radicalisation and doubt.
Credits:
US 2022, 106 Min., engl. OmU, Regie: Daniel Goldhaber mit Ariela Barer, Kristine Froseth, Lukas Gage, Forrest Goodluck, Sasha Lane, Jayme Lawson , Marcus Scribner, Jake Weary, Irene Bedard, Olive Jane Lorraine
“What happens in the staff room stays in the staff room,” says Carla Nowak in an interview with the school newspaper. Even if that is purely wishful thinking for the teacher at this point. This is her first job, and she is committed to teaching mathematics and physical education to her class of seventh graders. Things are going well and she is able to motivate these adolescents. Then a series of thefts occur at school and one of her students is quickly suspected. An outraged Carla decides to get to the bottom of the matter herself, but the case is not so easy to solve and has repercussions. Quickly decried as idealistic by the rest of the staff, Carla finds herself having to answer to angry parents and mediate between quarrelling students. The more she tries to do everything right, the more she – and others – are pushed to their limits, and the entire school system is thrown off balance. İlker Çatak misses nothing in his brilliantly observed film. In his unsparing drama, the school is a microcosm in which the outside world no longer exists and nothing remains private. Das Lehrerzimmer is a study in power relations that demonstrates how individuals are worn down between entrenched positions.
Credits:
DE 2023, 94 min, Deutsch, Türkisch, Polnisch, Englisch OmU Regie: İlker Çatak Schnitt: Gesa Jäger Kamera: Judith Kaufmann mit: Leonie Benesch, Leonard Stettnisch, Eva Löbau, Michael Klammer, Anne-Kathrin Gummich
Trailer:
DASLEHRERZIMMER | Trailer deutsch | Jetzt im Kino!
Robert wears a leather jacket and his hair rather long. He is by no means your average cop – at least not the kind to be found in most German movies. As an undercover investigator, he is tasked with gaining the trust of a criminal, Victor, by faking a relationship with Leni who has been released on parole to play along. They manage to make contact with Victor at a dance class: Robert and Leni – he gay, she trans – make a great couple and soon have the criminal on the hook. Or is it he who has entrapped them? And ultimately, are there not more feelings at play in this supposedly fake love affair? We would not be in a film by Christoph Hochhäusler if there were any simple answers or truths. His clever plot is pure oscillation, and the result is an ingenious portrait of the emotional intellect that is as witty as it is touching. The film is a (not entirely drug-free) trip along the director’s trademark Möbius strip of genre and auteur cinema. Added into the mix is one of the most beautifully nostalgic soundtracks of the year, a worse-for-wear romantic atmosphere with a Fassbinder-like charm and, finally, an ensemble cast that breathes life into all of puppet master Hochhäusler’s deceptive manoeuvres, death wish included.
Credits:
DE 2023, 123 min, Deutsch OmeU Regie: Christoph Hochhäusler Schnitt: Stefan Stabenow Kamera: Reinhold Vorschneider mit: Timocin Ziegler, Thea Ehre, Michael Sideris, Ioana Iacob, Rosa Enskat
Trailer:
Bis ans Ende der Nacht (offizieller Trailer) – Ein Film von Christoph Hochhäusler mit Thea Ehre
There’s probably no other citizen of Gelsenkirchen who has ever mastered Nō singing and playing the Shakuhachi flute as authentically as Uwe Walter. He has lived in the mountain village of Miyama north of Kyoto for three decades and emulates the local residents, whether they earn their living on the fields, breeding cattle or hunting. People tend their gardens, repair fences to keep away the macaques and grow their own rice. Uwe has become perfectly Japanese, at one with his environment.
However well-suited his Ruhr area wit makes him as a figure of identification, the camera keeps a respectful distance, more reserved than Uwe himself. Only at one point does it come touchingly close: When he is forced to say goodbye to an essential part of his past in the interest of the village community. But the real subject of this film is not the German with his greyish blonde curls but rather that very community, portrayed by Rainer Komers in bittersweet polyphony. It emerges in the children’s games, the adults’ pursuits and the old people’s tales, in the summer downpours of the rainy season, the white moon over the nocturnal village and the blood-red leaves of autumn.
Christoph Terhechte
Credits:
DE 2022, 97 min, Deutsch, Japanisch OmU Regie & Kamera: Rainer Komers Schnitt: Gregor Bartsch
On the Danish island of Bornholm, two families spend their traditional short vacation together. The campers park at a prime beach location and pitch tent for the three boys – so far, so good. But an incident with the children upsets the idyll: What begins as an immature quarrel gradually develops into a full-blown fight. Soon the pitfalls of raising children, midlife crises and marital problems are ruthlessly exposed – and the originally relaxing vacation turns into a purifying purgatory. Director Anna Kazejak allows bourgeois family ideals to collide with formal sovereignty in her comedy drama FUCKINGBORNHOLM.
Credits:
PL 2022, 96 min, poln. dän. OmU Regie: Anna Kazejak Kamera: Jakub Stolecki Schnitt: Maciej Pawlinski mit Agnieszka Grochowska, Maciej Stuhr, Grzegorz Damięcki, Jasmina Polak and Magus Krepper
Margaret, 35, has a history of violent behaviour which has cost her a romantic relationship. She has moved back in with her mother Christina, a fragile, immature 55-year-old woman who blames Margaret, her firstborn, for ruining her dreams of a career as a concert pianist. In a state of unbridled fury during an argument, Margaret hits Christina. The law steps in, further complicating family dynamics. As she awaits trial, Margaret is forbidden from coming into contact with her mother or within 100 metres of their home. This only intensifies her desire to be closer to her family. Every day, Margaret appears at this 100-metre threshold to see her 12-year-old sister Marion and give her music lessons. In La ligne, Ursula Meier continues her exploration of atypical family constellations, redefining the idea of a family “circle” to consider its topographical dimensions. Her astonishing lead actor is literally wrenched from this circle and from her mother in a manner reminiscent of the pain of childbirth. One of the film’s remarkable achievements is its shifting mood which, echoing its protagonists’ emotional insecurities, slips back and forth between comedy and drama without warning. The tonal choices and directing are assured and as striking as, well, a punch in the face.
Credits:
La Ligne CH/FR/BE 2022, 104 Min., frz. OmU Regie: Ursula Meier Kamera: Agnès Godard Schnitt: Nelly Quettier mit Stéphanie Blanchoud, Valeria Bruni Tedeschi, Elli Spagnolo
Trailer:
DIELINIE – offizieller OmU-Kinotrailer – ab 18.05.2023
All the Beauty and the Bloodshed is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin told through her slideshows, intimate interviews, ground-breaking photography, and rare footage of her personal fight to hold the Sackler family accountable for the opioid crisis.
Directed by Academy Award®-winning filmmaker Laura Poitras, the film interweaves Goldin’s past and present, the deeply personal and urgently political, from P.A.I.N.’s actions at renowned art institutions to Goldin’s photography of her friends and peers through her epic “The Ballad of Sexual Dependency” and her legendary 1989, NEA-censored AIDS exhibition, “Witness: Against Our Vanishing.”
The story begins with P.A.I.N., a group Goldin founded to shame museums into rejecting Sackler money, destigmatize addiction and promote harm reduction. Inspired by Act Up, they orchestrated protests to call attention to the toxic philanthropy of the Sackler family, whose company, Purdue Pharma, ignited the opioid epidemic with its blockbuster drug, OxyContin.
At the core of the film are Goldin’s art works “The Ballad of Sexual Dependency”; “The Other Side”; “Sisters, Saints and Sibyls”; and “Memory Lost.” In these works, Goldin captures her friendships with beauty and raw tenderness. These friendships, and the legacy of her sister Barbara, anchor all of Goldin’s art.
Credits:
US 2022, 117 Min., engl. OmU, Regie: Laura Poitras Kamera: Nan Goldin mit: Nan Goldin, David Armstrong, Marina Berio
Trailer:
All the Beauty and the Bloodshed (OmU Trailer) – Nan Goldin, Laura Poitras
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