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
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
What does happiness look like? The question throbs under the sensuous surfaces and emotionally fraught dialogues of Davy Chou’s resonant third feature RETURNTOSEOUL. 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)
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.
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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
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 BERGMANISLAND, 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
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. BANSHEESOFINISHERIN 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
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.
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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
Trailer:
Offizieller Teaser | „STILLEPOST” – Ab 15.12.2022 im Kino
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
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
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
Although a lowlander, Marco is a robust fellow. He is now working as a farmhand for mountain farmer Alois in a remote Swiss alpine village and, even at the regulars’ table at the local inn, people are slowly learning to appreciate this iced tea drinker. Anna is a local village girl; she has a daughter, Julia, from a previous relationship. Some doubt whether this new relationship will work out – but not Marco or Anna. They get married. Their love is gentle and beautiful; unable to fully fathom it, they express it in simple words. The trust between them grows and their tenderness endures; the happiness they feel at every touch is only surpassed by the warmth of stroking a cow. But soon Marco seems to be losing control of his impulses more and more often … Humankind and nature merge in a unique way in Michael Koch’s film. Powered by the congenial normality of its non-professional cast, his work follows the rhythm of the seasons with a tranquil conviction that is devoid of hysteria in spite of the circumstances – even if body and soul are fraught with tension. A jewel of a film.
Credits:
Drii Winter CH/DE 2022, 136 Min. schweizerdeutsche OmU Regie, Buch: Michael Koch Kamera: Armin Dierolf Schnitt: Florian Riegel mit Michèle Brand, Simon Wisler, Elin Zgraggen, Daniela Barmettler, Josef Aschwanden
Trailer:
Drei Winter (offizieller Trailer) – ein Film von Michael Koch
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