A film by Idan Haguel. In Hebrew with German subtitles.

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Ben plants a tree on the street in front of his house in Neve Sha’anan, a migrant neigh­bour­hood in the south of Tel Aviv. The dis­trict is on the up, and Ben has bought and upgraded a flat here tog­e­ther with his part­ner Raz. This gay cou­ple now enjoys a sett­led exis­tence, their days are struc­tu­red by a well-estab­lished rou­ti­ne and ever­y­thing is in its pro­per place. Time then, to tack­le their desi­re to have child­ren. And so, assi­duous­ly and con­sci­en­tious­ly, they set about sear­ching for a sui­ta­ble egg donor and sur­ro­ga­te mother. One day, when a neigh­bour­ly con­flict escala­tes over the tree he has plan­ted, Ben beco­mes wit­ness to bru­tal poli­ce vio­lence against an Eritrean. The inci­dent upsets his self-image and his plans for a life tog­e­ther with Raz.
Idan Haguel por­trays a gay midd­le-class cou­ple who­se desi­re for self-rea­li­sa­ti­on beg­ins to nar­row their world­view, brin­ging deep-sea­ted pre­ju­di­ces to light. A deft­ly told para­ble about the mecha­nisms of gen­tri­fi­ca­ti­on which, with a hint of sati­re, rai­ses an uncom­for­ta­ble ques­ti­on, name­ly: exact­ly how tole­rant are we?

Credits:

IL 2022, 82 Min., hebäi­sche OmU
Regie, Buch: Idan Haguel
Kamera: Guy Sahaf
Schnitt: Shauly Melamed
mit: Shlomi Bertonov, Ariel Wolf

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A film by Kirill Serebrennikov. In Russian with German subtitles.

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A dead­pan, hal­lu­ci­n­a­to­ry romp through post-Soviet Russia. With the city in the throes of a flu epi­de­mic, the Petrov fami­ly strug­gles through yet ano­ther day in a coun­try whe­re the past is never past, the pre­sent is a boo­ze-fue­led, icy fever dream of vio­lence and ten­der­ness, and whe­re – beneath lay­ers of the ordi­na­ry – things turn out to be quite extra­or­di­na­ry. Based on the novel „The Petrovs In and Around the Flu” by Alexey Salnikov.

Credits:

RU 2021, 145 Min., russ. OmU,
Regie & Buch: Kirill Serebrennikov
nach dem gleich­na­mi­gen Roman von Alexey Salnikov
Kamera: Vladislav Opelyants
Schnitt: Yuriy Karikh
mit: Semyon Serzin, Chulpan Khamatovar

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A film by Davy Chou.

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What does hap­pi­ness look like? The ques­ti­on throbs under the sen­suous sur­faces and emo­tio­nal­ly fraught dia­lo­gues of Davy Chou’s reso­nant third fea­ture RETURN TO SEOUL. Frederique, or Freddie, a young French woman born of South Korean par­ents revi­sits Seoul: what starts out as a see­mingly casu­al trip to con­nect with her cul­tu­ral past soon ripens into a jour­ney of angu­is­hed self-dis­co­very, as Freddie visits an adop­ti­on agen­cy and tri­es to make cont­act with her bio­lo­gi­cal par­ents. Expanding the nar­ra­ti­ve to move briskly through packed days befo­re sud­den­ly lea­ping years, Chou gives his edgy heroi­ne a leng­thy, yet rich­ly nuan­ced script to work with. In the film, fami­li­al love lies in wait, punc­tua­ted by new fri­end­ships and sexu­al expe­ri­men­ta­ti­on, and the need for mate­r­nal accep­tance, though ago­ni­zin­gly essen­ti­al, slow­ly ripens into only a broa­der search for self-awa­re­ness. But how does one beco­me ful­ly self-awa­re while not under­stan­ding one’s ori­g­ins? Thomas Favel’s quiet­ly atten­ti­ve cine­ma­to­gra­phy sus­ta­ins the exis­ten­ti­al eeri­ne­ss of Freddie’s quest. Newcomer Park Jin-Min in the title role deli­vers an exhi­la­ra­ting per­for­mance as a rebel­lious young woman who refu­ses to be wre­cked by the immensi­ty of her lon­ging, yet must learn to ack­now­ledge, and then embrace, her vul­nerabi­li­ty. (Ela Bittencourt)

Credits:

BE/DE/FR/QT 2022, 119 Min., frz, kore­an., engl. OmU,
Regie: Davy Chou
Kamera: Thomas Favel
Schnitt: Dounia Sichov
mit: Ji-Min Park, Oh Kwang-rok, Guka Han, Yoann Zimmer

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A film by Lukas Dhont.

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The inten­se fri­end­ship bet­ween two thir­teen-year old boys Leo and Remi sud­den­ly gets dis­rupt­ed. Struggling to under­stand what has hap­pen­ed, Leo approa­ches Sophie, Remi’s mother. Close is a film about fri­end­ship and responsibility.

Credits:

BE/FR/NL 2022, 105 Min., frz. OmU
Regie: Lukas Dhont
Kamera: Frank van den Eeden
Schnitt: Alain Dessauvage
mit: Eden Dambrine
Gustav De Waele
Emilie Dequenne
Léa Drucker

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A film by Mia Hansen-Løve. In French with German subtitles.

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Mia Hansen-Løve’s simp­lest, most focu­sed film in some time – and sure­ly her most matu­re yet – returns to a recur­rent the­me of hers, the way that the dif­fe­rent strands of a life inter­sect and inter­fe­re with each other. Here prot­ago­nist Sandra is deal­ing with the rebirth of love, while con­tem­pla­ting the end of a life – her father’s. She is a trans­la­tor and mother to an eight-year-old daugh­ter, Linn; her father is Georg, a distin­gu­is­hed pro­fes­sor of phi­lo­so­phy who­se eye­sight and his mind are fai­ling him irrever­si­bly. While she tends to both daugh­ter and father, Sandra encoun­ters an old fri­end, Clément. His sci­en­ti­fic spe­cia­lism as a cos­mo­che­mist leads him to fathom the infi­ni­te, while Sandra’s dai­ly con­cerns seem to strand her on a strict­ly earth­ly pla­ne – but there’s always the pro­mi­se of love.
After the self-refle­xi­ve playful­ness of BERGMAN ISLAND, Hansen-Løve offers a rigo­rous but ten­der stu­dy of life’s com­ple­xi­ties seen through a lens of prag­ma­tic rea­lism. Léa Seydoux, excel­ling in the most unvar­nis­hed of her recent roles, shi­nes along­side Pascal Greggory, who­se sta­tus as a French cine­ma vete­ran enters a rich new pha­se in his por­tra­y­al of an intellec­tu­al facing his twi­light. (Jonathan Romney)

Credits:

Un beau matin
FR/DE 2022, 112 Min., frz OmU
Regie: Mia Hansen-Løve
Kamera: Denis Lenoir
Schnitt: Marion Monnier
mit: Léa Seydoux, Pascal Greggory, Melvil Poupaud, Nicole Garcia, Kester Lovelace

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A film by Martin McDonagh. In English with German subtitles

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As the Irish Civil War rages on, the island of Inisherin remains just out of reach. When the wind drops, bombs can be heard, but many of the inha­bi­tants are so dis­con­nec­ted from ever­y­thing that they are unsu­re whe­re their alle­gi­ances lie. Martin McDonagh’s film never lea­ves the island, but its swee­ping vis­tas and stun­nin­gly-shot coast­li­nes ensu­re that the film never feels claus­tro­pho­bic, its few inha­bi­tants spread out so spar­se­ly that each home is like a tes­tim­o­ny to loneli­ne­ss.
BANSHEES OF INISHERIN takes its name from a pie­ce of music Colm com­po­ses across the cour­se of the film. Unfortunately for his best fri­end Pádraic, Colm has deci­ded that he must stop spea­king to him in order to devo­te his final years to music. When Padraic refu­ses to accept this, Colm swears that any time Padraic speaks to him he will cut off one of his own fin­gers.
The film is black­ly comic, fre­quent­ly absurd and pro­ves to be McDonagh’s finest work, with a care­er-best turn from Farrell play­ing a lost soul con­fron­ting cripp­ling loneli­ne­ss and ina­de­quacy. The film’s alle­go­ry for the civil war is pre­sent but not over­play­ed, a haun­tingly lyri­cal tri­bu­te to humanity’s capa­ci­ty for self-des­truc­tion. (Leila Latif)

Credits:

GB/IR/US 2022, 109 Min., engl. OmU
Regie: Martin McDonagh
Kamera: Ben Davis
Schnitt: Mikkel E.G. Nielsen
mit: Colin Farrell
Brendan Gleeson
Kerry Condon
Barry Keoghan

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A film by Florian Hoffmann. In German Turkish and Kurdish with German subtitles.

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Khalil is a pri­ma­ry school tea­cher and lives with his jour­na­list girl­fri­end Leyla in Berlin. When she shows him war vide­os from his home­town in Turkey – the Kurdish town of Cizre, Khalil’s order­ly life starts to slip out of his hands: he reco­gni­zes his sis­ter, who was declared dead years ago, in the ama­teur foo­ta­ge. He tri­es to get in cont­act with her through the Kurdish com­mu­ni­ty. But in return for their help, they want him to get the war vide­os into the German news. But no broad­cas­ter is inte­res­ted: other con­flicts have a hig­her news value. Only when Khalil and Leyla deci­de to mani­pu­la­te the vide­os, they final­ly get the media atten­ti­on they wan­ted: news reports and poli­ti­cal deba­tes pick up speed. But when the con­flict rea­ches Khalil’s school class, he rea­li­zes that it is no lon­ger just a ques­ti­on of win­ning the com­pe­ti­ti­on for the news atten­ti­on, but of pro­tec­ting his own life in Berlin.

Credits:

DE 2021, 94 Min., Deutsch, Türkisch, Kurdisch OmU
Drehbuch & Regie: Florian Hoffmann
Kamera: Carmen Treichl
Schnitt: Marco Rottig
mit: Hadi Khanjanpour, Kristin Suckow, Aziz Capkurt, Jeanette Hain, Mela Kanbak

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A film by Michael Hers. In French with German subtitles.

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Paris, 1981. The winds of chan­ge are blo­wing on elec­tion night and the French storm the streets, ela­ted. But Élisabeth (Charlotte Gainsbourg) strug­gles to share the gene­ral mood of opti­mism. Her mar­ria­ge is coming to an end and she will now have to sup­port her fami­ly. She is dis­traught, and her father and teenage child­ren are worried that her tears sim­ply will not dry. But what if lis­tening to her emo­ti­ons could help her to start fil­ling the blank page of her future? What if she were to wri­te a let­ter on a whim to the host of her favou­ri­te radio pro­gram­me? Or invi­te a home­l­ess girl into her house? What would hap­pen if she were to make the kind of ges­tu­res that actual­ly chan­ge lives?
In this fol­low-up to the beau­tiful Amanda, Mikhaël Hers directs his hyper­sen­si­ti­ve gaze at the 1980s and the see­mingly mun­da­ne moments in one family’s life that shape inde­li­ble memo­ries. A lar­ge num­ber of cha­rac­ters popu­la­tes this nost­al­gic saga of self-inven­ti­on. The direc­tor hono­urs their vul­nerabi­li­ty and kind­ness in a way that stands out in a cine­ma­tic land­scape more often fasci­na­ted by dis­il­lu­sio­ned anti­he­roes. This is film at its most pro­found­ly inti­ma­te and mes­me­ri­sing, the kind that, when we reflect on how we func­tion as a socie­ty, gives us an idea of why love matters.

Credits:

Les pas­sa­gers de la nuit
FR 2022, 111 Min., frz. OmU
Regie: Mikhaël Hers
Kamera: Sébastien Buchmann
Montage: Marion Monnier
mit: Charlotte Gainsbourg, Quito Rayon-Richter, Noée Abita, Megan Northam, Thibault Vinçon, Emmanuelle Béart, Laurent Poitrenaux, Didier Sandre, Lilith Grasmug, Calixte Broisin-Doutaz

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Ein Film von Cyril Schäublin.

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Ein Hauch von Rebellion weht durch das klei­ne Schweizer Bergtal: aus­ge­hend von Florian Eitels „Anarchistische Uhrmacher in der Schweiz“ erzählt Cyril Schäublin in sei­nem preis­ge­krön­ten zwei­ten Spielfilm über revo­lu­tio­nä­res Streben, eine begin­nen­de Romanze, dem Wesen kom­pli­zier­ter Handwerksarbeit und die Abhängigkeit von Zeit, Technik, Arbeit und Gewinn.
Die UNRUH ist die Federspirale einer Uhr und mit ihrer Unruhe ver­ant­wort­lich für die genau Abbildung des Zeitlaufs, nicht ihrer Messung. In dem Dorf mit der wich­ti­gen Uhrenmanufaktur haben Gemeinde, Fabriken, Bahn und Post näm­lich jeweils eige­ne Zeiten. So kann es pas­sie­ren, dass man dadurch nach der Pause zwei Minuten zu spät zurück in der Fabrik ist, aber eine gan­ze Stunde abge­zo­gen bekommt. Doch es regt sich Widerstand gegen die Arbeitsverhältnisse im Allgemeinen, die die Menschen zu sekun­den­ab­hän­gi­gen maschi­nen­ar­tig Schaffenden macht. Der rus­si­sche Kartograph und Anarchist P. A. Kropotkin ist jeden­falls über­rascht und fas­zi­niert, als er 1877 ins Tal kommt. Einerseits schlägt ihn jun­ge Uhrmacherin Josephine, die prä­zi­se und mit Leidenschaft Unruhen zusam­men­setzt, in den Bann, ande­rer­seits ver­fol­gen sie und ihre Kolleg*innen schon län­ger die Idee der Anarchie und har­ren ihrer Umsetzung. Etwas Sabotage, eige­ne Publikationen, die Gründung einer Gewerkschaft und Solidaritätsaktionen mit Kollegen in fer­nen Ländern gehö­ren dazu.

„Die meis­ten Ereignisse wer­den behan­delt, als wäre man zufäl­lig über sie gestol­pert. Man lauscht … wie ein(e) Passant*in, im Vorübergehen hier und da ein paar Sätze aufschnap­pend. Die Kamera nimmt in „Unruh“ nie das Offensichtliche in den Blick. … Es geht um Menschen, aber eben auch um Ideen. Um Individuen, aber eben auch um Massen und Bewegungen. Es sind demo­kra­ti­sche Bilder, die das Publikum für sich selbst ord­nen darf. …Ein schil­lern­des, klu­ges Gesellschaftsporträt zwi­schen Spott und Empathie, Sanftmut und Zorn, Liebe und Revolution.“
Lucas Barwenczik | Filmstarts.de
Premiere am 5.1. in Anwesenheit des Regisseurs.

Credits:

CH 2022, 93Min., Schweizerdeutsch/Französisch/Russisch u. a. OmU
Regie, Drehbuch, Schnitt: Cyril Schäublin, Kamera: Silvan Hillmann
mit: Clara Gostynski, Alexei Evstratov, Monika Stalder, Hélio Thiémard, Alice-Marie Humbert, Esther Flückiger, Alisa Miloglyadova, Elisaveta Kriman, Olga Bushkova

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A film by Eugen Jebeleanu. In Romanian with German subtitles.

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The thre­at of being outed cau­ses an explo­si­on of vio­lence: a Romanian dra­ma about the dilem­ma faced by a gay poli­ce­man in a homo­pho­bic socie­ty. Cristi, a poli­ce­man from Bucharest, keeps his sexua­li­ty secret becau­se he fears dis­cri­mi­na­ti­on in his macho envi­ron­ment. During a visit from his boy­fri­end who lives in ano­ther city, Cristi is deploy­ed to a cine­ma: a group of right-wing demons­tra­tors are try­ing to pre­vent a que­er film being shown. When one of the acti­vists reco­gni­zes Cristi and threa­tens to expo­se him, the young poli­ce­man loses it completely.

Credits:

RO 2020, 81 Min., rumä­ni­sche OmU
Regie: Eugen Jebeleanu
Kamera: Marius Panduru
Schnitt: Cătălin Cristuţiu
mit: Conrad Mericoffer, Alexandru Potocean, Radouan Leflahi, Cendana Trifan, Ionuţ Nicolae, Alex Câlin, Rolando Matsangos, George Piștereanu

Trailer:

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