A film by Céline Sciamma.  In French with German subtitles

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France, 1770. Marianne, a pain­ter, is com­mis­sio­ned to do the wed­ding por­trait of Héloïse, a young woman who has just left the con­vent. Héloïse is a reluc­tant bri­de to be and Marianne must paint her wit­hout her kno­wing. She obser­ves her by day, to paint her secretly.

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Portrait de la jeu­ne fil­le en feu
FR 2019, 113 Min., frz. OmU
Regie & Buch: Céline Sciamma
Kamera: Claire Mathon
Schnitt: Julien Lacheray
mit: Noémie Merlant, Adèle Haenel, Valeria Golino

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• noch kei­ne oder kei­ne mehr 

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A film by Maryam Zaree. In German, English, French and Farsi with German subtiitles.

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Director and actor Maryam Zaree seeks to shed light on the cir­cum­s­tances of her own birth in Evin, one of Iran’s most noto­rious pri­sons for dis­si­dents. Forty years ago, the Shah, and the Iranian mon­ar­chy with him, was over­thrown. After gai­ning power, Ayatollah Khomeini, the new head of sta­te and reli­gious lea­der, had tens of thou­sands of poli­ti­cal oppon­ents arres­ted and tor­tu­red, inclu­ding the filmmaker’s par­ents. The fami­ly, that was later able to flee to Germany, has never dis­cus­sed this peri­od of their lives in detail. After years of hesi­ta­ti­on, Maryam Zaree final­ly deci­des to address the deca­des of silence: how did their trau­ma as a result of per­se­cu­ti­on and vio­lence inscri­be its­elf in the bodies and souls of the sur­vi­vors and their child­ren? How do sur­vi­vors cope on a per­so­nal level with the fact that the per­pe­tra­tors still enjoy posi­ti­ons of power with impu­ni­ty? And what does it mean poli­ti­cal­ly when one of the par­ties invol­ved tri­es to cut through the den­se under­growth of repres­si­on that exists among­st the clo­sest mem­bers of her family?

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DE/AU 2019, 95 Min.
Regie, Buch: Maryam Zaree
Kamera: Siri Klug
Schnitt: Dieter Pichler

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• noch kei­ne oder kei­ne mehr 

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Das größ­te Forum für den jüdi­schen und israe­li­schen Film in Deutschland fei­ert in die­sem Jahr vom 8. ‑17. September unter dem Motto „Celebration“ sein 25-jäh­ri­ges Jubiläum.

Im fsk gibt es fol­gen­de Vorstellungen:
10. 9.: 19:00
THE OPTIMISTS
Ein Dokumentarfilm über das Miteinander im Kibbuz Ketura in der Arava Wüste und unver­bes­ser­li­che Optimist*innen. IL/NL/JO 2018, 54′, hebr. OmU, Regie: Eliezer Yaari

Als Double Feature mit
NO PROMISED LAND
Vor dem Hintergrund lan­des­wei­ter Demonstrationen kämp­fen jun­ge äthio­pi­sche Jüdinnen und Juden für ihre Rechte.
CH 2019, 52 Min., eng/heb OmeU, Regie: Raphael Bondy. Zu Gast: Igal Avidan im Gespräch mit Raphael Bondy

15. 9. 17:00
IN THE DESERT
Der paläs­ti­nen­sisch-israe­li­sche Konflikt – zwei Familien – zwei Lebensentwürfe
IL/CA 2018, 215 Min., ara/heb OmeU, Regie: Avner Faingulernt. Zu Gast: Ofer Waldman (New Israel Fund Germany) im Gespräch mit Avner Faingulernt (Israel) und Produzentin Hagar Saad Shalom. Mehr: jfbb.de

A Film by  Nora Fingscheidt.In German with English subtitles.

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Bernadette, or Benni as she pre­fers to be known, is a deli­ca­te-loo­king girl with unbrid­led ener­gy. She is a ‘sys­tem cra­s­her’. This term is used to descri­be child­ren who break every sin­gle rule; child­ren who refu­se to accept any kind of struc­tu­re and who gra­du­al­ly fall through the cracks in Germany’s child and wel­fa­re ser­vices. No mat­ter whe­re this nine-year-old is taken in, she is boo­ted out again after a short time. And that is exact­ly what she is after, becau­se all she wants is to be able to live with her mother again: a woman who is total­ly unable to cope with her daughter’s incal­culable behaviour.
Made from her own mul­ti-award-win­ning script, Nora Fingscheidt has crea­ted an inten­se dra­ma about one child’s over­whel­ming need for love and secu­ri­ty and the poten­ti­al for vio­lence that this engen­ders. At the same time, the film depicts the tire­less attempts of edu­ca­tors and psy­cho­lo­gists who use respect, trust and con­fi­dence to crea­te a way for­ward for child­ren who threa­ten to des­troy others and them­sel­ves as a result of their unpre­dic­ta­ble outbursts.

Berlinale 2019: Silver Bear – Alfred Bauer Prize

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DE 2019, 113 Min.
Regie, Buch: Nora Fingscheidt
Kamera: Yunus Roy Imer
Schnitt: Stephan Bechinger, Julia Kovalenko
mit: Helena Zengel, Albrecht Schuch, Gabriela Maria Schmeide, Lisa Hagmeister, Melanie Straub

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• noch kei­ne oder kei­ne mehr 

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A film by Robert Budina. In Albanian with German subtitles.

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Besnik is a lonely she­p­herd and devo­ted Muslim, haun­ted by unful­fil­led love. He is the son of a Catholic mother and form­er­ly Communist father whom he takes care of in an Albanian vil­la­ge in the moun­ta­ins. Up here, Christians and Muslims have found a way to co-exist peaceful­ly. Even after the dis­co­very that the old mos­que used to be a church and that the buil­ding was actual­ly shared by the two reli­gi­ons in the past, the calm of dai­ly life can be pre­ser­ved – with Besnik’s help. After the death of his father, howe­ver, dra­stic chan­ges threa­ten Besnik’s mul­ti-faith fami­ly and the she­p­herd is forced to seek his own path.

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Streha mes reve
AL 2018, 84 Min., alban. OmU
Regie und Buch: Robert Budina
Kamera: Marius Panduru
Schnitt: Ștefan Tatu 
mit: Arben Bajraktaraj, Esela Pysqyli, Irena Cahani, Bruno Shllaku, Osman Ahmeti, Muzbaidin Qamili, Helga Boshnjaku, Suela Bako, Rubin Boshnjaku

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• noch kei­ne oder kei­ne mehr 

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A SHELTER AMONG THE CLOUDS – Trailer from Pluto Film on Vimeo.

Im Kino mit deut­schen Untertiteln.

A film by François Ozon. In French with German subtitles.

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Alexandre lives with his wife and child­ren in Lyon. One day he dis­co­vers by chan­ce that the priest who abu­sed him when he was a boy scout is still working with young peo­p­le. Long repres­sed memo­ries awa­ken. Distraught, Alexandre final­ly finds the cou­ra­ge to take action against the man. His search for fur­ther vic­tims of the cler­gy­man, who is high­ly respec­ted in his office, leads Alexandre to François and Emmanuel. Each of the­se three men is strugg­ling with hims­elf in a dif­fe­rent way. And each of them will have to do batt­le with the shadows of their past in order to cope with the far-rea­ching con­se­quen­ces of this pro­cess. The crea­ti­on of the self-help orga­ni­sa­ti­on ‘La Parole Libérée’ (The Liberated Word) is just the first step.
Based on the real case of Father Bernard Preynat who in 2016 was char­ged with sexu­al­ly assaul­ting around 70 boys in Lyon, François Ozon por­trays the vic­tims as adult men and reve­als the lifel­ong wounds they have sus­tained. At the same time, the film cri­ti­ci­s­es the church’s silence on pae­do­phi­lia and asks about its com­pli­ci­ty. As of January 2019, Cardinal Philippe Barbarin is stan­ding tri­al for ‘non-den­un­cia­ti­on of sexu­al aggression’.

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Grâce à Dieu
FR 2019, 137 Min., frz. OmU
Regie, Buch: François Ozon
Kamera: Manu Dacosse
Schnitt: Laure Gardette
mit: Melvil Poupaud, Denis Ménochet, Swann Arlaud, Éric Caravaca, François Marthouret, Bernard Verley, Martine Erhel 

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• noch kei­ne oder kei­ne mehr 

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A film by Annemarie Jacir. In Arabic with German subtitles.

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Abu Shadi is a divorced father and a school tea­cher in his mid-60s living in Nazareth. After his daughter’s wed­ding in one month he will be living alo­ne. Shadi, his archi­tect son, arri­ves from Rome after years abroad to help his father in hand deli­ve­ring the wed­ding invi­ta­ti­ons as per local Palestinian cus­tom. As the estran­ged pair spend the day tog­e­ther, the ten­se details of their rela­ti­onship come to a head chal­len­ging their fra­gi­le and very dif­fe­rent lives.

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PS/FR/DE/CO/NO/QA/AE 2017, 96 min,  Arabisch mit deut­schen Untertiteln
Regie & Buch: Annemarie Jacir 
Kamera: Antoine Héberlé 
Schnitt: Jacques Comets 
mit: Mohammad Bakri, Saleh Bakri, Maria Zreik

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• noch kei­ne oder kei­ne mehr 

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A film by Louis-Julien Petit. In French with German subtitles.

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Envol (mea­ning “taking flight”) is a home­l­ess day shel­ter for women in the bleak north of France. It is run by women: Manu (Corinne Masiero, who was unfor­gettable as a woman living out of her car in Louise Wimmer – SFFF 2013), Audrey (Audrey Lamy), and Angélique (Déborah Lukumuena). They are assis­ted by a vol­un­teer, the posh, soon-to-be-sin­gle, and nai­ve Hélène (Noémie Lvovsky). They genui­ne­ly care for the women who line up at the gates every mor­ning. The shel­ter offers a warm show­er, a hot meal, cama­ra­de­rie, and coun­seling. But the city decla­res that Envol is not hel­ping enough women get off the streets. It is not pro­fi­ta­ble and the decis­i­on is bru­t­ally final: Envol will clo­se in three months.

Audrey, Manu, and the others deci­de to make the best out of the­se three months, and do wha­te­ver it takes to help their girls one last time. And that includes ben­ding the rules. The shel­ter beco­mes a kind of boot camp for reinte­gra­ti­on, with the social workers clan­des­ti­ne­ly allo­wing the women to sleep the­re over­night and trai­ning them in the day to beco­me con­fi­dent and func­tio­ning mem­bers of society.

Invisibles suc­cessful­ly mixes come­dy with a docu­men­ta­ry approach. Real-life home­l­ess women por­tray­ing them­sel­ves with humor star in the film. That includes Adolpha van Meerhaeghe. Like the woman she por­trays –Chantal, may­be the most memo­rable cha­rac­ter of the film – she used to sleep out­side the Lille train sta­ti­on and ser­ved time in pri­son for kil­ling her vio­lent hus­band. Actress Corinne Masiero hers­elf, now the star of one of France’s most popu­lar TV crime dra­ma series, Capitaine Marleau, open­ly talks about being home­l­ess in her twen­ties. Director Louis-Julien Petit spent a year vol­un­tee­ring in women’s home­l­ess shel­ters, say­ing that he wan­ted to get the tone of the film right: “I had a lot of pre­con­cei­ved ide­as but when I was in the shel­ters, what I found was peo­p­le who were just like me.”

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Les Invisibles
FR 2019, 102 Min., frz. OmU
Regie und Buch: Louis-Julien Petit
nach dem Buch von Claire Lajeunie „Sur La Route Des Invisibles, Femmes Dans La Rue“
Kamera: DAVID CHAMBILLE
Schnitt: ANTOINE VAREILLE & NATHAN DELANNOY
mit: Audrey Lamy, Corinne Masiero, Noémie Lvovsky, Déborah Lukumuena, Sarah Suco, Brigitte Sy, Pablo Pauly, Quentin Faure u.a.

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• noch kei­ne oder kei­ne mehr 

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A film by Max Linz. In German with English subtitles.

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The Institute for Cybernetics and Simulation Research is threa­ten­ed with clo­sure – the start­ing point for this sati­re about how the uni­ver­si­ty sys­tem is to be trans­for­med into a tur­bo-capi­ta­list rese­arch machi­ne. Phoebe Phaidon, a high­ly qua­li­fied, up-and-coming young aca­de­mic, accepts yet ano­ther tem­po­ra­ry tea­ching con­tract. With her pro­gres­si­ve ide­als on cli­ma­te rese­arch still more or less int­act, she acts as a link to the frus­tra­ted, yet com­bat-rea­dy stu­dents who have occu­p­ied the libra­ry. On the other side of the batt­le lines are the estab­lished facul­ty, who­se will to sur­vi­ve in the cess­pool of third-par­ty fun­ding acqui­si­ti­on has ground them down into vain cynics for whom no ridi­cu­lous con­ces­si­on to eva­lua­ti­on mad­ness is too gro­tes­que. Max Linz crafts his film with a keen sen­se of Berlin’s sen­si­ti­vi­ties, urban back­drops, office décor and aca­de­mic atti­re. And he exag­ge­ra­tes deca­dent uni­ver­si­ty jar­gon with gus­to, its buz­zwords func­tio­ning almost like the bait in beha­viou­ral stu­dies. By the end, the film has prac­ti­cal­ly beco­me a musi­cal, with a cat­chy tune that could be a post-capi­ta­list revo­lu­tio­na­ry anthem: “Why can’t it be nice here, why are we not happy?”

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DE 2019, 80 Min.
Regie: Max Linz
Kamera: Carlos Andrés López
Schnitt: Bernd Euscher, René Frölke
Mit: Sarah Ralfs, Sophie Rois, Philipp Hauß, Bernd Moss, Maryam Zaree, Bastian Trost, Leonie Jenning, Luis Krawen, Martha von Mechow, Max Wagner, Anna Papenburg, Olga Lystsova, Kerstin Grassmann, Jean Chaize, Friedrich Liechstenstein

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• noch kei­ne oder kei­ne mehr 

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A film by Gabrielle Brady. In English with German subtitles.

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Christmas Island, an iso­la­ted part of the world, loca­ted bet­ween Indonesia and Australia, is one of the of-ter­ri­to­ry sites Australia uses to detain peo­p­le see­king refu­ge or asyl­um (or a bet­ter life) on its ter­ri­to­ry pro­per. The tro­pi­cal island is also the site of ano­ther kind of migra­ti­on: Usually at the begin­ning of the wet sea­son thou­sands of red crabs make their way from the forest to the sea shore, a pas­sa­ge that finds pro­tec­tion from the peo­p­le on Christmas Island. In one sce­ne in Gabrielle Brady’s docu­men­ta­ry we see her prot­ago­nist, the the­ra­pist Poh Lin Lee, careful­ly clea­ring the road in order to avo­id crab road­kill. Her main task on the island (and her voca­ti­on, we may sur­mi­se) is to help some of the detai­nees on the island, who suf­fer from the uncer­tain­ty of their sta­tus, and who often react by har­ming them­sel­ves. Poh Lin Lee offers an ori­gi­nal the­ra­py using a sand­box as a device to address trau­ma. ISLAND OF THE HUNGRY GHOSTS is as much a subt­ly radi­cal poli­ti­cal docu­men­ta­ry as it is a deep­ly moving medi­ta­ti­on on extre­me con­di­ti­ons in a place haun­ted by ghosts of all kind – the big­gest ghost being the unjust world order against which the­re is no easy offe­ring. (Bert Rebhandl)

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DE/GB/AU 2018, 94 Min., eng­li­sche OmU
Regie und Buch: Gabrielle Brady
Kamera: Michael Latham
Schnitt: Katharina Fiedler

Termine:

• noch kei­ne oder kei­ne mehr 

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Im Kino mit deut­schen Untertiteln.