A Film by Thomas-Moritz Helm. In German and English with  English and German subtitles.

[Credits] [Termine] [Trailer]

Summer in Berlin. Two Berliners, Maria and Niels, and one British stu­dent, Chloë, are three twen­ty-some­things. Drifting libi­di­nous­ly through Berlin, they plun­ge head­long into a care­free and chao­tic love affair with each other. Boisterously living life to the full, they grasp ever­y­thing and any­thing they plea­se. Their only com­pass seems to be the plea­su­re they expe­ri­ence tog­e­ther – which works per­fect­ly well until Chloë unin­ten­tio­nal­ly falls pregnant. Insecurity and anger, jea­lou­sy and doubt now break out. An abor­ti­on is plan­ned, and rejec­ted. Who is allo­wed to have a say, and when, and about what? Their unu­su­al tri­ni­ty dis­sol­ves and their once balan­ced rela­ti­onship muta­tes into shif­ting con­stel­la­ti­ons of two – until it seems it might be pos­si­ble to res­to­re a pre­ca­rious equi­li­bri­um, at least for a moment. Is their uto­pia within reach or is this just the calm befo­re the storm? To love dif­fer­ent­ly is hard work. The world is not pre­pared for Maria, Niels and Chloë. And neither are they.

[nbsp]
Credits:

DE 2018, 93 Min.
Regie & Buch: Thomas-Moritz Helm
Kamera: Stefan Neuberger
Schnitt: Elena Weihe
Darsteller: Paula Knüpling, Maximilian Hildebrandt, Tala Gouveia, Roland Bonjour, Nora Decker, Carrie Getman

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

A film by Maria Alché.  In Spanish with German subtitles.

[Credits] [Termine] [Trailer]

Marcela’s world beco­mes stran­ge and unfa­mi­li­ar after her sis­ter Rina dies. She feels lost in her own house, and her rela­ti­onship with her hus­band and child­ren seems to suf­fer. But when Nacho, a young fri­end of her daughter’s, unex­pec­ted­ly drops by, she starts to talk and walk with him. Gradually Marcela beg­ins to have con­ver­sa­ti­ons with rela­ti­ves from ano­ther dimension.

[nbsp]
Credits:

AR/BR/DE/NO 2018, 91 Min., span. OmU
Regie & Buch: Maria Alché
Kamera: Hélène Louvart 
Schnitt: Livia Serpa 
mit: Mercedes Morán, Marcelo Subiotto,
Esteban Bigliardi, Diego Vélazquez

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

A film by Sabrina Sarabi. Starts August 29th at the fsk. In German with English subtitles.

[Credits] [Termine] [Trailer]

Nineteen-year-old David dreams of being a con­cert pia­nist on the inter­na­tio­nal stage. Although his talent made him spe­cial in his home town, he soon rea­li­zes that at the con­ser­va­to­ry he is but one of many talen­ted stu­dents. His class­ma­te Walter is his stron­gest com­pe­ti­tor, and not only musi­cal­ly. Only an affair with Marie, a con­fi­dent voice major with a zest for life, gives him the cou­ra­ge to com­pe­te for a high­ly cove­ted scho­lar­ship in New York. Yet with expec­ta­ti­ons of him rising all around, David’s life starts to get out of control.

[nbsp]
Credits:

DE 2019, 95 min.
Buch und Regie: Sabrina Sarabi
Kamera: Max Preiss
Schnitt: Hannah Schwegel, Jan von Rimscha
mit: Louis Hofmann, Liv Lisa Fries, Johannes Nussbaum, Ursina Lardi, Jenny Schily, Saskia Rosendahl

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

A film by Emma Davie & Peter Mettler. In English with German subtitles.

[Credits] [Termine] [Trailer]

An inspi­red col­la­bo­ra­ti­on bet­ween film­ma­kers Emma Davie (I Am Breathing) and Peter Mettler (The End of Time) and radi­cal wri­ter and phi­lo­so­pher David Abram (The Spell of the Sensuous), Becoming Animal is an urgent and immersi­ve audio­vi­su­al quest, for­ging a path into the places whe­re humans and other ani­mals meet, whe­re we pry open our sen­ses to wit­ness the so-cal­led natu­ral world—which in turn wit­nesses us, promp­ting us to reflect on the very essence of what it means to inha­bit our ani­mal bodies.

Shot in and around Grand Teton National Park, with its diz­zy­ing diver­si­ty of wild­life, trails of curious humans in RV’s and bil­li­on-year-old geo­lo­gy, the film is a gey­ser of pro­vo­ca­ti­ve ide­as and heigh­ten­ed sen­sa­ti­ons rela­ted to the sub­li­me cir­cuit­ry that con­nects us to our ever-shif­ting sur­roun­dings.  A snail’s body beco­mes an immense land­scape as the sound­scape immer­ses us in shi­ve­ring lea­ves, rus­hing rivers and the weird spacey pitch of elk bug­ling at night. Becoming Animal embraces the sen­so­ry tools of cine­ma to trace how the writ­ten word and tech­no­lo­gy has affec­ted how we see.

Driven by won­der, curio­si­ty and a desi­re for balan­ce bet­ween eco­lo­gi­cal and tech­no­lo­gi­cal impe­ra­ti­ves, Becoming Animal is an invi­ta­ti­on to explo­re our rela­ti­onship with this “more than human world” and reco­g­ni­se it for what it is: an exqui­si­te­ly intri­ca­te sys­tem in which ever­y­thing is ali­ve and expres­si­ve, humans, ani­mals and land­scapes are inex­tri­ca­bly inter­de­pen­dent, and the­re is no such thing as emp­ty space.

[nbsp]
Credits:

CH/CA/GB 2018, 78 Min., engl. OmU
Regie: Emma Davie & Peter Mettler
Kamera: Peter Mettler

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

Ein Film von Nadav Lapid. Ab 5.9. im fsk.

[Credits] [Termine] [Trailer]

Yoav ist nach Paris gezo­gen mit der Absicht, Franzose zu wer­den und sei­ne israe­li­sche Herkunft abzu­strei­fen. Kein hebräi­sches Wort soll ihm mehr über die Lippen kom­men, er will nur noch fran­zö­sisch spre­chen und übt die Sprache, indem er ver­bis­sen Synonyme auf­zählt. Schon bald nach sei­ner Ankunft lernt er ein jun­ges Paar ken­nen, das all das ver­kör­pert, was man gemein­hin mit Paris asso­zi­iert: bei­de sind gebil­det, gut geklei­det, leben in einer geschmack­voll ein­ge­rich­te­ten Wohnung. Sie hel­fen Yoav mit etwas Geld aus und klei­den ihn ein. In die begin­nen­de Freundschaft mischen sich bald eigen­nüt­zi­ge Interessen. Der Film basiert auf eige­nen Erfahrungen des israe­li­schen Regisseurs Nadav Lapid. Er erzählt mit viel Humor und sati­ri­schen Einlagen davon, dass man sich selbst immer mit­nimmt, wenn man weg­geht. Und auch die bösen Geister der Vergangenheit krie­chen aus dem Koffer. Yoavs gespal­te­nes Verhältnis zu Israel und damit zur eige­nen Identität ist der Preis eines Lebens in stän­di­gem Kriegszustand. Auf der dies­jäh­ri­gen Berlinale wur­de SYNONYMES mit dem Goldenen Bären und dem Preis der Filmkritik ausgezeichnet.

„Und der Goldene Bär für den bes­ten Film? Ging tat­säch­lich an den bes­ten Film. (…) SYNONYMES spielt mit klei­nen Verneigungen vor den Klassikern des fran­zö­si­schen Kinos. DER LETZTE TANGO IN PARIS, JULES UND JIM, die gro­ßen ero­ti­schen Urkonstellationen aus der Ära der Nouvelle Vague wer­den her­auf­be­schwo­ren.“ David Steinitz, Süddeutsche Zeitung

„Der Film (…) geht auf eine gewitz­te Weise mit sei­nem nicht eben leicht­ge­wich­ti­gen Thema um, steckt vol­ler ori­gi­nel­ler Bildideen, komi­scher Situationen und skur­ri­ler Momente.“ Berliner Zeitung

„Hier ist ein Hauptdarsteller zu ent­de­cken, der die Fähigkeit besitzt, einen Film zu beherr­schen, wie Daniel Day-Lewis oder Denis Lavant.“ Indiewire

„In Lapids künst­le­ri­scher Verwandtschaft ist vor allem ein Name zu nen­nen: Jean-Luc Godard. (…) Das gro­ße Gelingen des Films besteht dar­in, dass er sich der Sprache ver­schreibt. Auch das Kino ist eine Sprache, und wenn man die­sen Film sieht, fällt einem auf, wie sel­ten das heu­te gewor­den ist.“ Philipp Stadelmaier, Filmbulletin

[nbsp]
Credits:

IL/ FR/ DE 2019, 123 Min., frz., hebr. OmU 
Regie: Nadav Lapid
Buch: Nadav Lapid, Haïm Lapid
Kamera: Shaï Goldman
Schnitt: Era Lapid, Neta Braun
Darsteller: Tom Mercier, Quentin Dolmaire, Louise Chevillotte, Uri Hayik, Léa Drucker

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

A film by Sophie Kluge. In German with English subtitles.

[Credits] [Termine] [Trailer]

Ava moves back in with her mother and her new boy­fri­end after uni­ver­si­ty. Since she can‘t find a job, she interns at a thea­ter whe­re she meets actor Jonas.

Axel Timo Purr | indiekino

[nbsp]
Credits:

DE 2019, 93 Min.
Regie & Buch: Sophie Kluge
Kamera: Reinhold Vorschneider
Schnitt: Katja Dringenberg
Darsteller: Henriette Confurius, Max Krause, Inga Busch, Franziska Machens, Hanna Hilsdorf

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

A film by Stephan Hilbert.

[Credits] [Termine] [Trailer]

In cri­sis-rid­den eas­tern Congo, one of the poo­rest regi­ons on earth, three Europeans are forced to ques­ti­on what it means to help. Raul, a French-Spanish eco­no­mist, rea­li­zes that his pro­ject funds are lea­ding his Congolese col­le­agues into gre­at tempt­a­ti­on, put­ting their stu­dy on rebel groups at risk of fai­ling. Peter, from Germany, is strugg­ling to pre­ser­ve his iden­ti­ty as an aid worker when he rea­ches reti­re­ment age after 30 years in Africa. And the rela­ti­onship of the young Belgian Anne-Laure is put to the test when her Congolese boy­fri­end, after a stay in pri­son, beco­mes a high-pro­fi­le regime cri­tic. Deeply per­so­nal insights into coexis­tence and coope­ra­ti­on bet­ween Europe and Africa – and the ques­ti­on: how hel­pful is the help of the West?

[nbsp]
Credits:

DE 2019, 90 Min., OmU
Regie: Stephan Hilbert
Kamera: Daniel Samer
Schnitt: Miriam Märk 

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

A film by Ron Mann. In English with German subtitles.

[Credits] [Termine] [Trailer]

Once the cen­ter of the New York bohe­mia, Greenwich Village is now home to lux restau­rants, and buz­zer door clot­hing stores cate­ring to the nou­veau riche. But one shop in the heart of the Village remains resi­li­ent to the encroa­ching gen­tri­fi­ca­ti­on: Carmine Street Guitars.

There, cus­tom gui­tar maker Rick Kelly and his young app­ren­ti­ce Cindy Hulej, build hand­craf­ted gui­tars out of reclai­med wood from old hotels, bars, churches and other local buil­dings. Nothing looks or sounds quite like a Rick Kelly gui­tar, which is the reason they are embra­ced by the likes of Bob Dylan, Lou Reed, Patti Smith, Jim Jarmusch, just to name a few.

Featuring a cast of pro­mi­nent musi­ci­ans and artists, and some vir­tuo­so per­for­man­ces, the film cap­tures five days in the life of one shop in the heart of Greenwich Village that remains resi­li­ent to the all-too-quick­ly vanis­hing way of life.

This film is dedi­ca­ted to Jonathan Demme.

[nbsp]

Credits:

USA 2018, 81 Min., engl. OmU
Regie: Ron Mann
Buch: Len Blum
Kamera: Becky Parsons, John M. Tran
Schnitt: Robert Kennedy 

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

A film by Miriam Bliese. In German with English subtitles.

[Credits] [Termine] [Trailer]

Sophie and Georg meet and fall in love just after the hea­vi­ly-pregnant Sophie has been aban­do­ned by her boy­fri­end. To the new­ly born Jakob, Georg natu­ral­ly beco­mes his father. The patch­work fami­ly faces all the usu­al chal­lenges that beset modern par­ents: who should be allo­wed to work and who should take care of the child? How much free­dom is per­mis­si­ble and how much self-sacri­fice requi­red? And whe­re is the room for pas­si­on? A few years later, Georg and Sophie have split up. Jakob is six years old and his par­ents are grim­ly batt­ling for cus­t­ody. Sophie’s new part­ner, of all peo­p­le, tri­es to media­te bet­ween them. Played out in a series of indi­vi­du­al sce­nes that all take place out­side the same front door in Berlin, the film is an ellip­ti­cal por­trait of a fami­ly for whom the term ‚patch­work‘ is sim­ply a part of their ever­y­day lives. The prot­ago­nists nego­tia­te their anxie­ties and desi­res in front of house walls, in-bet­ween pil­lars and in car parks. Here, home is not a safe har­bour, but a place of tran­sit expo­sed to the wind. A laco­nic look at the unre­asonable mun­da­ni­ty of love.

[nbsp]
Credits:

DE 2019, 97 Min.
Regie & Drehbuch: Miriam Bliese
Kamera: Markus Koob
Montage: Dietmar Kraus
mit: Birte Schöik, Ole Lagerpusch, Justus Fischer, Falk Rockstroh

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer: (Ausschnitt)

A film by Alexander Gorchilin.  In Russian with German subtitles.

[Credits] [Termine] [Trailer]

Stark naked, Vanya jumps to his death off a bal­c­o­ny. ‘If you want to jump, jump,’ Pete had told him. Before: a floo­ded apart­ment, a toi­let in the midd­le of the room, para­noia. Moby’s ‘Why does my heart feel so bad?’ on in the back­ground. Kislota (Acid), the sty­lish direc­to­ri­al debut of 26-year-old Russian actor Alexander Gorchilin, beg­ins like a trip and breathl­ess­ly con­ti­nues: Vanya’s fun­e­ral is fol­lo­wed by club­bing, drugs and the artist Vasilisk, who asks Sasha if he can pho­to­graph his cir­cumcis­ed penis. He may. Sasha beco­mes the focus of the film. The acid of the title first comes into play in the artist’s stu­dio when Vasilisk dis­sol­ves his father’s sculp­tures in it. Life is not bad in today’s Russia for the young, fat­her­less men at the cent­re of the film. They look good, but their lives have no sen­se of direc­tion. The bot­t­le of acid remains in the room the next mor­ning. It will con­ti­nue to play a role in the story.
Gorchilin finds powerful images for his depic­tion of a youth that seem to be losing their grip on life. And neither the cream-colou­red inte­ri­ors of their bour­geois homes, nor rhyth­mic gym­nastics or even the church seem to offer them any­thing to hold on to.

[nbsp]

Credits:

Kislota
RU  2018,98 Min., russ. OmU,
Regie: Alexander Gorchilin
Buch: Valery Pecheykin
Kamera: Kseniya Sereda
Montage: Vadim Krasnitskiy
mit: Filipp Avdeev, Alexander Kuznetsov, Arina Shevtsova, Savva Saveliev 

Termine:

• noch kei­ne oder kei­ne mehr 

[nbsp]
Trailer:

Acid (Trailer) from Salzgeber & Co. Medien GmbH on Vimeo.