Category: archiv

a film by Behtash Sanaeeha, Maryam Moghaddam. In Farsi with German subtitles.

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Mina’s life is tur­ned upsi­de down when she lear­ns that her hus­band Babak was inno­cent of the crime for which he was exe­cu­ted. The aut­ho­ri­ties apo­lo­gi­se for the mista­ke and offer the pro­s­pect of finan­cial com­pen­sa­ti­on. Mina starts a silent batt­le against a cyni­cal sys­tem for her own and her daughter’s sake. Just as her money is run­ning out, a stran­ger named Reza knocks at her door, say­ing he has come to repay a debt he owed to Babak. Mina is guard­ed at first, but incre­asing­ly lets Reza into her life, una­wa­re of the secret that ties them to one ano­ther.
Behtash Sanaeeha and Maryam Moghaddam mas­terful­ly pre­sent guilt and ato­ne­ment, a clas­sic tro­pe of Iranian film, as a cine­ma of small, pre­cise ges­tu­res and spaces. Maryam Moghaddam excels in the role of a Mina caught bet­ween loneli­ne­ss and her strugg­le for self-determination.

Credits:

Ghasideyeh gave sefid
IR/FR 2020, 105 Min., far­si OmU
Buch und Regie: Behtash Sanaeeha, Maryam Moghaddam
Kamera: Amin Jafari
Schnitt: Ata Mehrad, Behtash Sanaeeha
mit Maryam Moghaddam, Alireza Sanifar, Pourya Rahimisam, Avin Purraoufi, Farid Ghobadi, Lili Farhadpour

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a film by Pawo Choyning Dorji. In Dzongkha with German subtitles.

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Struggling with his pro­fes­si­on as a tea­cher, Ugyen is sent to Lunana in nor­t­hern Bhutan for his final year of trai­ning. With a warm wel­co­me, the local child­ren try to win him over but they do not have much time.

Credits:

BT/CN 2021, 109 Min., Dzongkha OmU
Buch und Regie: Pawo Choyning Dorji
Schnitt: Hsiao-Yun Ku
Kamera: Jigme Tenzing
mit: Sherab Dorji, Ugyen Norbu Lhendup, Pem Zam, Kelden Lhamo Gurung

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a film by Moumouni Sanou. In Dioula with German subtitles .

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In der Kreisstadt Bobo-Dioulasso, in der Nähe von Burkina Fasos Hauptstadt Ouagadougou, geben Sexarbeiterinnen ihren Nachwuchs in die Obhut von Frau Coda, einer älte­ren Dame, die sich seit Jahrzehnten um Kinder küm­mert, deren Mütter nachts auf der Straße ihr Geld ver­die­nen. Dem Filmemacher Moumouni Sanou ist es über die Jahre gelun­gen, das Vertrauen aller Beteiligten zu gewin­nen und einen tie­fen Einblick in das Leben von Odile und Farida zu bekom­men, die bei­de auf die Dienste von Frau Coda ange­wie­sen sind. Zärtlich und sehr genau beob­ach­tet er alle Aspekte ihres Lebens, Hausarbeit, Freizeit, inti­me Momente des Mutterseins, auch ihre Beziehung zu Frau Coda und wie die­se ihre Kinder erzieht. Im Mittelpunkt des Films ste­hen die Erfahrungen von Frauen. Männer und Väter sind abwe­send, außer in den mal amü­san­ten, mal zutiefst erschüt­tern­den Geschichten, die Farida und Odile von ihrer Arbeit erzäh­len. Sanous zurück­hal­ten­der, respekt­vol­ler Blick macht die Vorzüge hori­zon­ta­len Filmemachens deut­lich, das sich durch größt­mög­li­che Aufmerksamkeit und Sensibilität den Protagonisten gegen­über auszeichnet.

Credits:

Garderie noc­turne
UV/FR/DE 2021, 67 Min., Dioula OmU,
Regie Moumouni Sanou
Kamera: Pierre Laval
Schnitt: François Sculier
mit: Odile Kambou, Fatim Tiendrebeogo 

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a film by Thomas Balmès. Starts December 9th at the fsk. In Dzongkha with German subtitles.

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16-year-old Peyangki has lived as a monk in a monas­tery in the moun­ta­ins of Bhutan sin­ce ear­ly child­hood. His smart­phone is the con­nec­tion to the world, in it he has seen ever­y­thing – and he has fal­len in love. He met Nguen on WeChat, the Chinese face­book. For months, the two exch­an­ge mes­sa­ges day and night, Peyangki sings for her, she reve­als her wis­hes and hopes for the future. It is first, total love that chan­ges ever­y­thing and turns the life of a teen­ager upsi­de down.

He for­got that he wan­ted to make money; for­got that he wan­ted to return from the monas­tery to his fami­ly. Now he wants to go to town, and meet Nguen – becau­se so far they’­ve only met vir­tual­ly. „Sing Me a Song” will accom­pa­ny the young monk on his jour­ney to the capi­tal and his first mee­ting with Nguen.

Credits:

FR/DE/CH 2019, 90 Min., Dzongkha OmU,
Regie & Kamera: Thomas Balmès,
Schnitt: Alex Cardon, Ronan Sinquin

Trailer:

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a film byMelanie Lischker. In German with eng­lish subtitles.

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“What must a woman have been through for her to sim­ply not have a role in her fami­ly any lon­ger?” Through Super‑8 and video mate­ri­al that her father had pains­ta­kin­gly coll­ec­ted, Melanie Lischker tells the sto­ry of her mother and, with it, that of an enti­re generation.

Credits:

DE 2021, 78 Min, ,
Regie & Buch: Melanie Lischker,
Kamera: Thomas Lischker, Melanie Lischker,
Schnitt: Mechthild Barth, Melanie Lischker

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a film by Jane Campion. Starts December 16th at the fsk. In English with German subtitles.

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Set in Montana in the 1920s, Jane Campion’s hot­ly anti­ci­pa­ted new film is an enthr­al­ling revi­sio­nist wes­tern awa­sh in sub­li­me expan­ses and nuan­ce, cap­tu­ring a land­scape and a peo­p­le dri­ven by the fan­ta­sy and fol­ly of wes­tern expan­si­on. Adapted from Thomas Savage’s cult novel of the same name, The Power of the Dog tells the sto­ry of suc­cessful ran­cher brot­hers George (Jesse Plemons) and Phil (Benedict Cumberbatch) Burbank, who­se rela­ti­onship sours when the more mild-man­ne­red George mar­ries local widow Rose (Kirsten Dunst).

Rose and her son Peter (Kodi Smit-McPhee) arri­ve at the Burbank ranch — see­mingly who­le­so­me and naï­ve — and attempt to fit into the family’s com­plex dyna­mic of new money, but are con­ti­nu­al­ly sty­mied by an uns­po­ken brot­her­ly bond. Phil’s past as a clas­sics scho­lar at Yale is bare­ly dis­cer­ni­ble as he sports a tough and dir­ty exte­ri­or, while fre­quent­ly refer­ring to the anti­cs of his men­tor Bronco Bill. Cumberbatch shi­nes in this fero­cious per­for­mance as a cow­boy to the core, who­se hurtful, macho quips toward Peter and his mother hint at a sim­me­ring men­ace and a capa­ci­ty for erra­tic cruel­ty and vio­lence; a kind of camou­fla­ge that only ser­ves to repress deep-sea­ted trau­ma and latent desire.

Proving once again that she is one of today’s grea­test film­ma­kers, Campion deli­vers a fasci­na­ting stu­dy of mas­cu­li­ni­ty and inter­nal tor­ment, sub­ver­ting the codes of the wes­tern — and of the male gaze — in a uni­ver­se that is always shif­ting in tone, ren­de­red with stun­ning cine­ma­to­gra­phy by Ari Wegner, a dis­ori­en­ting score by Jonny Greenwood, and a ter­ri­fic ensem­ble cast.

Credits:

NZ/AU 2021, 126 Min, engl. OmU
Regie: Jane Campion
Kamera: Ari Wegner
Schnitt: Peter Scibberas
mit: Benedict Cumberbatch
Jesse Plemons
Kirsten Dunst
Kodi Smit-McPhee

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a film by Maryam Touzani. Starts In Arabic with German subtitles.

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Abla runs a popu­lar bak­ery in the nar­row streets of Casablanca’s old town. Mother of eight-year-old Warda, the wido­wed for­ty-some­thing is facing a busy day-to-day life. When her rou­ti­ne is bro­ken by a knock on the door, she is still una­wa­re that her life is about to chan­ge fore­ver. On the door­step stands Samia, a pregnant young woman asking for a place to stay in exch­an­ge for help around the house and in the bak­ery. While Abla does not want to enga­ge with this stran­ger pro­mi­sing not­hing but trou­ble, litt­le Warda imme­dia­te­ly takes to Samia. One night tur­ning into seve­ral, the cool­ly detached Abla incre­asing­ly fails to hide the fact that Samia is an unex­pec­ted asset to her bak­ery busi­ness as well as her enti­re life. Adam is a bit­ters­weet dra­ma, car­ri­ed by the excep­tio­nal Belgian-Moroccan star actress Lubna Azabal.

Credits:

MA/FR 2019, 98 Min., arab. OmU
Regie: Maryam Touzani
Kamera: Adil Ayoub
Schnitt: Julie Naas
mit: Douae Belkhaouda, Aziz Hattab, Hasna Tamtaoui u. a.

Trailer:

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a film by Ryûsuke Hamaguchi. In Japanese with German subtitles.

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2021 has been an annus mira­bi­lis for Ryusuke Hamaguchi, who has pre­mie­red two fea­ture films, both very dif­fe­rent, both equal­ly mas­ter­ly. After the the­ma­ti­cal­ly con­nec­ted tri­ptych of WHEEL OF FORTUNE AND FANTASY, Hamaguchi del­ves into more expan­si­ve­ly nove­li­stic ter­ri­to­ry, alt­hough the source is a short sto­ry by Haruki Murakami.
An exten­ded pre­face intro­du­ces us to a Tokyo cou­ple, actor and direc­tor Yusuke and screen­wri­ter Oto, who­se pen­chant for ero­tic sto­rytel­ling hints at pos­si­bi­li­ties that will con­ti­nue to trou­ble Yusuke. Two years later, he arri­ves in Hiroshima to direct Chekhov’s Uncle Vanya at a theat­re fes­ti­val and is assi­gned a young woman named Misaki as his dri­ver. After a trou­bled rehear­sal pro­cess and Yusuke’s pro­blems with a trou­ble­so­me young actor, Yusuke and the initi­al­ly reser­ved Misaki begin to com­mu­ni­ca­te.
A three-hour run­ning time allows Hamaguchi to uns­pool a subt­ly, den­se­ly pat­ter­ned nar­ra­ti­ve to maxi­mum effect, with Chekhov’s dra­ma sub­li­mi­nal­ly reso­na­ting as a back­ground sub­text. Quietly moving, intellec­tual­ly invol­ving, DRIVE MY CAR is argu­ab­ly the most matu­re and most ele­gant dra­ma of 2021. (Jonathan Romney)

Credits:

ドライブ・マイ・カー Doraibu mai kâ
JP 2021, 179 Min., japan. OmU
Regie: Ryûsuke Hamaguchi
Drehbuch: Ryûsuke Hamaguchi, Haruki Murakami, Takamasa Oe
Kamera: Hidetoshi Shinomiya
Schnitt: Azusa Yamazaki
mit: Hidetoshi Nishijima, Tôko Miura, Masaki Okada, Reika Kirishima

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a film by Srdan Golubovic. In Serbian with German subtitles

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After Nikola’s wife has attempt­ed sui­ci­de, the casu­al labourer’s two child­ren are taken away from him and pla­ced with fos­ter par­ents. A tem­po­ra­ry arran­ge­ment, it is alle­ged. However, fol­lo­wing an assess­ment of Nikola’s housing con­di­ti­ons, the head of the social wel­fa­re office in their small Serbian vil­la­ge deci­des that Nikola is too poor to pro­vi­de an ade­qua­te living envi­ron­ment for his child­ren. The reti­cent Nikola deci­des to lodge a com­plaint with the Ministry of Social Affairs in Belgrade. He is deter­mi­ned to cover the 300 kilo­me­t­res to the capi­tal on foot. In this way, he intends to show the aut­ho­ri­ties how far he is wil­ling to go for his child­ren – lite­ral­ly.
Srdan Golubović finds authen­tic, moving images to tell this tale of ine­qua­li­ty. His quiet but resi­li­ent prot­ago­nist explo­res not only the coun­try, but also the boun­da­ries bet­ween right and wrong. Resolved not to give in to his moun­ting despe­ra­ti­on, this ten­acious father embarks on a heroic jour­ney that rede­fi­nes the word hero.

Credits:

RS, FR, DE, SL, HR, BA 2020, 99 Min., ser­bi­sche OmU
Regie: Srdan Golubovic
Drehbuch: Srdan Golubovic, Ognjen Svilicic
Kamera: Aleksandar Ilić
Schnitt: Petar Marković
mit: Goran Bogdan, Boris Isaković,
Nikola Rakocevic, Milan Maric
Länge: 99 Minuten

Trailer:

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a film by Salomé Jashi. In Gerogian with German subtitles.

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A powerful man, who is also the for­mer prime minis­ter of Georgia, has deve­lo­ped an exqui­si­te hob­by. He coll­ects cen­tu­ry old trees along Georgia’s coast­li­ne. He com­mis­si­ons his men to uproot them and bring them to his pri­va­te gar­den. Some of the­se trees are as tall as 15-flo­or-buil­dings. And in order to trans­plant a tree of such dimen­si­ons some other trees are chop­ped down, elec­tric cables are shifted and new roads are paved through man­da­rin plantations.

The film moves the con­cept of uproo­ting from its meta­pho­ri­cal mea­ning into an oppres­si­ve, tan­gi­ble and yet sur­re­al reality.

Credits:

CH/DE/GE 2021, 92 Min., geor­gi­sche OmU
Regie und Buch: Salomé Jashi
Kamera: Goga Devdariani, Salomé Jashi
Schnitt: Chris Wrightenn

Trailer:

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