A film by Grímur Hákonarson.  In Iselandic with German subtitles

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In this visual­ly impres­si­ve, emo­tio­nal­ly powerful dra­ma from Iceland, a woman sees red and rebels against a cor­rupt agri­cul­tu­ral coope­ra­ti­ve in her dis­trict. Inga has a hea­vi­ly indeb­ted milk farm. After the death of her hus­band, she sta­kes ever­y­thing on a con­fron­ta­ti­on with the source of her mise­ry: the coope­ra­ti­ve, which ruthl­ess­ly exploits its mono­po­li­stic posi­ti­on to the full and puts far­mers under mas­si­ve, Mafia-like pres­su­re. A strugg­le bet­ween David and Goliath beg­ins. Inga attempts to found her own coope­ra­ti­ve against the mas­si­ve resis­tance of the powerful bos­ses, well awa­re that in doing so she is jeo­par­di­sing her own existence.

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The County
IS/DK/DE/FR 2019, 90 Min., isl. OmU
Regie: Grímur Hákonarson
Kamera: Mart Taniel
Schnitt: Kristján Loðmfjörð
mit: Arndís Hrönn Egilsdóttir, Hinrik Ólafsson, Sigurður Sigurjónsson, Hannes Óli Ágústsson, Ragnhildur Gísladóttir

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A film by Jessica Hausner. In English with German subtitles.

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Alice, a sin­gle mother, is a dedi­ca­ted seni­or plant bree­der at a cor­po­ra­ti­on enga­ged in deve­lo­ping new spe­ci­es. She has engi­nee­red a very spe­cial crims­on flower, remar­kab­le not only for its beau­ty but also for its the­ra­peu­tic value: if kept at the ide­al tem­pe­ra­tu­re, fed pro­per­ly and spo­ken to regu­lar­ly, this plant makes its owner hap­py. Against com­pa­ny poli­cy, Alice takes one home as a gift for her teenage son, Joe. They chris­ten it ‘Little Joe’ but as it grows, so too does Alice’s sus­pi­ci­on that her new crea­ti­ons may not be as harm­less as their nick­na­me suggests.

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AT/GB/DE 2019, 109 Min., engl. OmU
Regie: Jessica Hausner
Kamera: Martin Gschlacht
Schnitt: Karina Ressler
mit: Emily Beecham, Ben Wishaw, Kerry Fox

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A film by Valentina Primavera. In Italian with German subtitles.

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A wife wants a divorce; her daugh­ter picks up her came­ra. Hope blos­soms. Perhaps the cha­os of suf­fe­ring, con­tempt and vio­lence will final­ly subs­i­de. But fami­lies are fami­lies and fathers remain fathers. Then what about the mother? A homage to a smart, vul­nerable and strong woman.

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AT/IT/DE 2018, 80 Min., ital. OmU
Regie & Kamera: Valentina Primavera
Schnitt: Federico Neri

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A film by Grit Lemke . On December 13th + 14th at the fsk.

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„My swing stands in an enchan­ted gar­den, just behind the rail­way embank­ment. When I’m at the top of the swing, I see trains sque­al­ing by day and night, lea­ving black dust behind. They come from huge holes gaping bet­ween our vil­la­ges. As a child I thought the who­le world loo­ked like this. Holes with vil­la­ges in bet­ween, my swing in the midd­le. And the trains. They are coal trains.”

Gerhard Gundermann (1955–1998), sin­ger-song­wri­ter, poet and excava­tor ope­ra­tor in the Lusatian brown coal mines. In this regi­on, glo­bal pro­blems are con­den­sed on a local level as if by a bur­ning glass – from struc­tu­ral chan­ge to cli­ma­te cri­sis. Mostly unpu­blished archi­ve mate­ri­al and Gundermann’s songs enter into a dia­lo­gue with obser­va­tions and con­ver­sa­ti­ons in his “dis­trict”, accom­pa­nied by the voice-over of the direc­tor, who is no less deep­ly roo­ted in the coal mining dis­trict. Home and its des­truc­tion through strip mining, uto­pian ide­as and the ques­ti­on of indi­vi­du­al respon­si­bi­li­ty run through the songs, as do their con­se­quen­ces for gain­ful employ­ment and the envi­ron­ment at the end of the indus­tri­al age. And they are more topi­cal than ever today: “Where my swing stood and later your excava­tor the­re is now a lake.”

Frederik Lang

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DE 2019, 98 Min.
Regie: Grit Lemke
Kamera: Uwe Mann
Schnitt: Sven Kulik

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GUNDERMANN REVIER – Trailer from Gregor Streiber on Vimeo.

A film by Stéphane Riethauser . In French with German subtitles.

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Madame − that’s Caroline. An elder­ly lady, who imme­dia­te­ly makes it clear that the­re is more to her than just a coquet­tish hair­style and bour­geois man­ners. The focal point of the movie is the rela­ti­onship with her grand­son, film­ma­ker Stéphane Riethauser. Madame is a dou­ble self-por­trait, in which the matri­arch and her gay grand­son con­fi­de in each other. With humor but in a pro­found man­ner and with sub­ver­si­ve force, the film decon­s­tructs gen­der ste­reo­ty­pes and illus­tra­tes the saga of a midd­le-class fami­ly with archi­ve pictures.

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CH 2019, 93 Min., frz. OmU
Regie, Buch & Kamera: Stéphane Riethauser 
Schnitt: Natali Barrey

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MADAME (offi­zi­el­ler Trailer/DEU UT) from Stéphane Riethauser on Vimeo.

A film by Claire Pijman. In English, French and Dutch with German subtitles.

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Robby Müller (1940–2018) was a lumi­na­ry, but not in the way this term is com­mon­ly used. He could easi­ly have play­ed one of the wise and taci­turn Indians in Jim Jarmusch’s Acid Western “Dead Man”. But that was impos­si­ble becau­se he was the DOP of this film, for which he con­ju­red his spe­cial, firm and almost pain­ter­ly, but also trans­pa­rent and shim­me­ring light onto the screen, as he did for around 70 other mas­ter­pie­ces of inter­na­tio­nal auteur cinema.

Over deca­des the cine­ma­to­grapher kept a video dia­ry which the film­ma­ker Claire Pijman alre­a­dy work­ed with for the gre­at exhi­bi­ti­on “Master of Light” at the Amsterdam EYE Film Museum and which she now uses as the cen­tral pool of images for her own film, “Living the Light”. Fellow cine­ma­to­grapher Agnès Godard says about a sequence bet­ween Dennis Hopper and Nicholas Ray from Wim Wenders’ “The American Friend” that mas­ter­ship for her is achie­ved only when the gran­deur of the cine­ma­to­gra­phy makes its­elf vanish from a sce­ne becau­se it beco­mes its natu­ral com­po­nent. Strange that one always feels that one can almost hear Robby Müller’s images. In “Living the Light”, this impres­si­on is under­li­ned by deli­ca­te­ly impro­vi­sed sound­scapes by Jim Jarmusch and Carter Logan.

Ralph Eue

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NL DE 2018 86 Min. OmU (Engl., Niederl., Franz. mit deut­schen Untertiteln)
Regie : Claire Pijman
Kamera : Robby Muller, Claire Pijman 
Schnitt: Katharina Wartena
Music: Squrl (Jim Jarmusch and Carter Logan)

offi­zi­el­le Webseite (engl.) livingthelight.nl

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Living the Light – die Bilderwelten des Robby Müller / Trailer from Chromosom Film on Vimeo.

Ein Film von Bernhard Sallmann.

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Mit Havelland Fontane schließt Bernhard Sallmann sei­ne 2016 begon­ne­ne vier­tei­li­ge Serie zu Theodor Fontanes (1819−1898) Reisereportagen „Wanderungen durch die Mark Brandenburg“ ab. Während die ers­ten drei Filme Erkundungen des länd­li­chen Raums sind, ist in Havelland Fontane auch die Verschmelzung einer Flusslandschaft mit dem Großraum Berlin-Potsdam ein zen­tra­les Thema. Fontane legt die Grundlagen der Entstehung der Mark frei und schil­dert das Ringen der natur­re­li­giö­sen wen­di­schen Kultur mit der aus dem Westen andrän­gen­den christ­li­chen im 12. Jahrhundert. Er schil­dert dabei an vie-len Beispielen die Austauschverhältnisse der Mark mit der rasch wach­sen­den Großstadt. In den gemäl­de­haf­ten und lang ver­wei­len­den Tableaus ent­steht ein Resonanzraum, der Zeiten, Orte und ver­blüf­fen­de Geschichten amalgamiert.

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DE 2019, 109 Min., 
Regie, Kamera: Bernhard Sallmann

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A film by Karim Aïnouz. Portuguese with German subtitles.-

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Rio de Janeiro, 1950. Eurídice, 18, and Guida, 20, are two inse­pa­ra­ble sis­ters living at home with their con­ser­va­ti­ve par­ents. Although immer­sed in a tra­di­tio­nal life, each one nou­ris­hes a dream: Eurídice of beco­ming a renow­ned pia­nist, Guida of fin­ding true love. In a dra­ma­tic turn, they are sepa­ra­ted by their father and forced to live apart. They take con­trol of their sepa­ra­te desti­nies, while never giving up hope of fin­ding each other. Adapted from a novel, Karim Aïnouz’s film is an astu­te anti-racist melo­dra­ma that reve­als the mecha­nisms of patri­ar­chal socie­ty. Behind the his­to­ric back­drop lies the dream of a Brazil based on jus­ti­ce, equa­li­ty, and diversity.

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A Vida Invisível De Eurídice Gusmão
BR/DE 2019, 139 Min., por­tu­gi­schi­sche OmU
Regie: Karim Aïnouz
Kamera: Hélène Louvart
Schnitt: Heike Parplies
mit:
Fernanda Montenegro
Carol Duarte
António Fonseca
Gregório Duvivier
Júlia Stockler

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A film by Sabu. In Japanese with German subtitles.

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Hiroshi (Sho Aoyagi), Takeru (Keita Machida) and Tetsuo (Nobuyuki Suzuki) all live in the same city. Hiroshi is an unpo­pu­lar idol sin­ger and he feels a void in his life. He is pla­ced under con­fi­ne­ment by his fan Masako. Takeru belie­ves that a girl returns to con­scious­ness. Tetsuo deci­des to take reven­ge on a yaku­za who sent him to prison.

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JP 2018, 90 Min., jap. OmU
Regie: Sabu
Buch: Sabu

mit:Sho Aoyagi, Keita Machida, Nobuyuki Suzuki

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A film by Paul Schrader.

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The film sets in on November 25, 1970, the last day in Mishima’s life. He is shown finis­hing a manu­script. Then, he puts on a uni­form he desi­gned for hims­elf and meets with four of his most loy­al fol­lo­wers from his pri­va­te army.

In flash­backs high­light­ing epi­so­des from his past life, the view­er sees Mishima’s pro­gres­si­on from a sick­ly young boy to one of Japan’s most acclai­med wri­ters of the post-war era (who in adult­hood trains hims­elf into the acme of mus­cu­lar disci­pli­ne, owing to a mor­bid and mili­ta­ristic obses­si­on with mas­cu­li­ni­ty and phy­si­cal cul­tu­re). His loathing for the mate­ria­lism of modern Japan has him turn towards an extre­mist tra­di­tio­na­lism. He sets up his own pri­va­te army and pro­claims the rein­sta­ting of the emper­or as head of state.

The bio­gra­phi­cal sec­tions are inter­wo­ven with short dra­ma­tiza­ti­ons of three of Mishima’s novels: In The Temple of the Golden Pavilion, a stut­te­ring aspi­rant sets fire to the famous Zen Buddhist temp­le becau­se he feels infe­ri­or at the sight of its beau­ty. Kyoko’s House depicts the sado­ma­so­chi­stic (and ulti­m­ate­ly fatal) rela­ti­onship bet­ween a midd­le-aged woman and her young lover, who is in her finan­cial debt. In Runaway Horses, a group of young fana­tic natio­na­lists fails to over­throw the govern­ment, with its lea­der sub­se­quent­ly com­mit­ting sui­ci­de. Dramatizations, frame sto­ry, and flash­backs are seg­men­ted into the four chap­ters of the fil­m’s title, named Beauty, Art, Action, and Harmony of Pen and Sword.

The film cul­mi­na­tes in Mishima and his fol­lo­wers taking hos­ta­ge a General of the Japan Self-Defense Forces. He addres­ses the gar­ri­son’s sol­diers, asking them to join him in his strugg­le to rein­sta­te the Emperor as the nati­on’s sove­reign. His speech is lar­ge­ly igno­red and ridi­cu­led. Mishima then returns to the General’s office and com­mits seppuku.

(wiki­pe­dia)

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JP/US 1985, 121 Min., Regie: Paul Schrader, mit: Ken Ogata, Masayuki Shionoya, Hiroshi Mikami, Junya Fukuda

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