The film sees Helke Sander, political activist and film-maker, having a clear-out, straightening things out, remembering, and presenting herself and her artistic work in front of the camera. She remains a combative spirit who provokes—a thread that has run through her life and does so in this film too. When Willy Brandt spoke at the opening of the German Film and Television Academy in 1966, Helke Sander was one of the first-year students to use films as a means of action and agitation. Sander has been a prominent figure in the public eye, at least since her »Tomato Speech« in 1968 in front of the Socialist German Student League (SDS) and has amassed a vast oeuvre over the decades. Claudia Richarz is thus able to draw on a wealth of archive material in her montage of the legacy of the second women’s movement.
Credits:
GB 2023, 101 Min., Regie: Claudia Richarz Kamera: Claudia Richarz, Martin Gressmann, Volker Sattel Schnitt: Martin Kayser-Landwehr, Magdolna Rokob
“Scourge of management, record companies and album sleeve printers; Champion of bands, music, great ideas and high, infuriatingly high standards; Defender of the art over commerce at all times.” – Nick Mason, Pink Floyd on Hipgnosis
Celebrated photographer, creative director and filmmaker Anton Corbijn’s first feature documentary SQUARINGTHECIRCLE (THESTORYOFHIPGNOSIS) tells the story of Storm Thorgerson and Aubrey “Po” Powell, the creative geniuses behind the iconic album art design studio, Hipgnosis, responsible for some of the most recognizable album covers of all time. They formed Hipgnosis in Cambridge during the ferment of the sixties and became rock royalty during the boom time of the seventies. They conjured into existence sights that no one had previously thought possible, produced visuals which popularized music that had previously been considered fringe, and were at the white-hot center of the maddest, funniest and most creative era in the history of popular music.
During this period, record companies didn’t dictate to acts like Peter Gabriel, Pink Floyd, Led Zeppelin and Paul McCartney what their LP covers should look like – Storm and Po did. They made money; they lost money. They did great things; they did silly things. They fell out bitterly; they made up. They never played a note, but they changed music. The film features brand new interviews with Roger Waters, David Gilmour & Nick Mason of Pink Floyd, Jimmy Page & Robert Plant of Led Zeppelin, Paul McCartney, Peter Gabriel, Graham Gouldman of 10cc, Noel Gallagher, and many more.
Credits:
GB 2022, 101 Min., engl. OmU, Regie: Anton Corbijn Kamera: Stuart Luck, Martijn van Broekhuizen Schnitt: Andrew Hulme mit: Paul McCartney, Aubrey Powell, Jimmy Page, Noel Gallagher, Robert Plant, Roger Waters, u.a.
Black dust, shrill metallic noises, dark tunnels, muscular bodies – all that is the past. At the end of 2018, extraction of coal throughout Germany came to an end. That same year, the voices of the emerging climate protest movement Fridays for Future grew louder. Against the backdrop of these media and socio-political events, the film follows five miners on their tragic, humorous and heartwarming search for a new role in life.
Credits:
DE 2023, 104 Min., Regie: Christian Johannes Koch & Jonas Matauschek Kamera: Sebastian Klatt Schnitt: Natali Barrey, Annette Brütsch, Jonas Matauschek
Miss Novak joins the staff of an international boarding school to teach a conscious eating class. She instructs that eating less is healthy. The other teachers are slow to notice what is happening and by the time the distracted parents begin to realise, Club Zero has become a reality.
Credits:
AT, UK, DE, FR, DK 2023, 110 Min., englische OmU Regie: Jessica Hausner Kamera: Martin Gschlacht Schnitt: Karina Ressler mit: Mia Wasikowska, Sidse Babette Knudsen, Elsa Zylberstein, Lukas Turtur, Mathieu Demy, Amir El-Masry, Ksenia Devriendt, Luke Barker
It would never have occurred to the passionate dancer Elena to have a love affair without sex. But when she falls head over heels in love with sign language interpreter Dovydas, there is no way around it for the two of them. Because Dovydas is asexual. Is the emotional connection between them strong enough for a happy relationship in which Dovydas is not sexually attracted to Elena? SLOW is a love story like you’ve never seen before. Marija Kavtaradze sensitively and authentically tells the story of two people who become close without sleeping together. This romantic drama is carried by two charismatic protagonists who captivate you from the very beginning.
Credits:
LT/ES/SE 2023, 108 Min., litauische OmU Regie: Marija Kavtaradze Kamera: Laurynas Bareiša Schnitt: Silvija Vilkaitė mit: Greta Grinevičiūtė, Kęstutis Cicėnas
A search for the truth on several levels, in which many things are not what they appear to be, recently honored at Cannes.
Hirokazu Kore-eda’s central theme, the family, is once again his starting point in this magnificently orchestrated narrative. And once again the Japanese master director demonstrates his keen power of observation. In a nuanced way, he addresses such themes as arson, bullying, alienation, and prejudice, approaching them from multiple perspectives and getting the audience to think about them. What makes a person a monster? And who gets to determine that?
After separating from her husband, Julie has moved to a Paris suburb to raise their two children on her own. Every day she takes them to an elderly nanny before commuting to her stressful job in downtown Paris as a maid in a luxury hotel. When a strike paralyzes the public transportation system, commuting between home and work becomes much more difficult. And when Julie finally gets an interview for a job she’d long been hoping for, she has no choice but to set off on a frantic race against time that will push her to her very limits as both her professional and personal life hang in the balance.
Credits:
À plein temps FR 2022, 88 Min., franz. OmU Regie: Eric Gravel Kamera: Victor Seguin Schnitt: Mathilde Van de Moortel mit: Laure Calamy, Anne Suarez, Geneviève Mnich, Nolan Arizmendi, Sasha Lemaitre Cremaschi, Cyril Gueï
With the construction of the Indian planned city of Chandigarh, the Swiss and French architect Le Corbusier completed his life’s work 70 years ago. Chandigarh is a controversial synthesis of the arts, a bold utopia of modernity. The film accompanies four cultural workers who live in the planned city and reflects on Le Corbusier’s legacy, utopian urban ideas and the cultural differences between East and West in an atmospherically dense narrative.
Credits:
CH 2023, 84 Min., engl., deutsche OmU Regie & Kamera: Karin Bucher, Thomas Karrer Schnitt: Fabian Kaiser, Thomas Karrer, Mirjam Krakenberger
DOCU-FICTION Marianne Atzeroth-Freier once brought the »acid-barrel murderer« to justice. In a mix of archive material and re-enacted scenes, the film reconstructs the difficult investigation Atzeroth-Freier had to pursue in a male-dominated environment. In the 1990s, as one of the first women in the Hamburg Police’s homicide division, Atzeroth-Freier solved one of the most gruesome murders in German history. If anything, by chance. When approached by a mother whose daughter has disappeared, she decides to get involved. On the search for the missing person, she repeatedly comes across inconsistencies within the police’s investigation. But she keeps going – until she achieves the breakthrough
Credits:
DE 2023, 97 Min. Regie: Matthias Freier Kamera: Kay Madsen Schnitt: Marielle Pohlmann
Documentary series by Julian Vogel | 87min | 67min | 85min | DE 2023
Camera: Luise Schröder, Julian Vogel Sound: Oscar Stiebitz, Julian Vogel Editor: Gregor Bartsch, Sebastian Winkels
Munich 2016, Halle 2019 and Hanau 2020: three right-wing extremist attacks by so-called „lone wolves: Alleged lone perpetrators who, seemingly without being part of classic extremist structures, radicalized themselves on the Internet and suddenly struck in public spaces. These are stories that now dominate the headlines: Right-wing terror is currently considered the greatest threat to democracy in Germany, according to the Office for the Protection of the Constitution. And this despite the fact that until recently such perpetrators were often classified as mentally ill, „confused” lone perpetrators and thus denied their racism. These times are over: After the attack in Hanau, Frank Walter Steinmeier spoke of an „attack on all of us”. But who are „all of us”?
The trilogy „EINZELTÄTER (Parts 1–3)” independently takes the perspective of the people whose relatives were actually the target of the attacks and whose lives will never be the same again.
EINZELTÄTER Part 1: MÜNCHEN
Arbnor lost his sister in the 2016 attack at the Olympia shopping center, Hasan and Sibel lost their son. For a long time, the relatives had to fight for the state to recognize the racist background of the crime. Only after the attacks in Halle and Hanau did they succeed.
EINZELTÄTER Part 2: HALLE
EKarsten lost his only son Kevin in the Halle attack. While the public watches the trial of the right-wing extremist perpetrator, he struggles to deal with his grief. He finds support in the Halle FC fan scene.
EINZELTÄTER Part 3: HANAU
The racist attack of February 19, 2020 has changed Hanau-Kesselstadt. People of different origins live here, and six of the nine victims died here. After the attack, people here stick together, try to deal with the consequences of the act, and fight for clarification. And this is where the father of the perpetrator and the surviving relatives of the victims live in the immediate vicinity.
Director Notes: Since 2018, I have been in contact with survivors of the racist attack in Munich in 2016, which was initially classified by the investigating authorities as a non-political rampage. This changed with the attack in Halle in 2019, in the wake of which the Munich act was classified as right-wing violence and right-wing extremism as the greatest threat to the security situation. After the attack of Hanau 2020, which brought the problem of right-wing „lone perpetrators” ultimately into public consciousness, I decided to make a documentary film that accompanies the mourning work of the bereaved and their relationship to the social dimension of these three acts. The result was a trilogy. The families in Munich and Hanau are united by the fact that their mourning work is interwoven with the fight against racism. In Halle, the situation is different: Kevin’s father Karsten has to deal with the death of his child because someone wanted to strike a minority to which he himself does not belong. For me, his grief was no less touching than the grief of the other people affected. It was imortant to me to also dedicate myself to his story
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