Category Archives: archiv

Burning

A film by Lee Chang-dong. In Korean with German subtitles.

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“Male rage bla­zes a chil­ling trail on the Korean bor­der. Sex, envy and pyro­ma­nia make for a rive­ting mys­tery in Lee Chang-dong’s mas­terful­ly craf­ted Murakami adapt­a­ti­on. Lee Chang-dong’s Burning is a super­b­ly shot and sen­suous­ly scored movie, a mys­tery thril­ler about obses­si­ve love taken from a short sto­ry by Haruki Murakami. It’s a psy­cho­lo­gi­cal dra­ma set in the modern con­su­me­rist Korea of the call­ous Gangnam-style rich and poor young peo­p­le who often go invi­si­bly to ground, pur­sued by cre­dit-card debt.“ (Peter Bradshaw, The Guardian)

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Credits:

Beoning
Südkorea 2018, 148 Min., Koreanische OmU
Regie: Lee Chang-dong
Buch: Haruki Murakami, Lee Chang-dong, Jungmi Oh
Kamera: Kyung-Pyo Hong
Schnitt: Da-won Kim, Hyun Kim
mit: Ah-in Yoo, Steven Yeun, Jong-seo Jeon, Joong-ok Lee, Ja-Yeon Ok

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Zwischen den Zeilen

A film by Olivier Assayas. In French with German subtitles.

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Typically French, the well-hee­led intellec­tu­als in Non-Fiction: if they’re not tal­king one ano­ther’s ears off, they’re jum­ping into bed tog­e­ther. Olivier Assayas has no trou­ble at all making a fresh, fun­ny film from such mate­ri­al. His cha­rac­ters may come over as pom­pous – and at times insuf­fera­ble – but this come­dy dra­ma is any­thing but.

Publisher Alain (Guillaume Canet) and his wife Selena (Juliette Binoche) are doing their best to adapt to modern life. He is forced to coope­ra­te in the digi­ti­sa­ti­on of the publi­shing sec­tor, while she – once a stage actress – is acting in a long-run­ning poli­ce series on tele­vi­si­on. With their fri­ends, who include aut­hor Léonard (Vincent Macaigne), they dis­cuss the chan­ges taking place in their working lives. But is ever­y­thing not just stay­ing the same, real­ly? Assayas seems incre­asing­ly cri­ti­cal of his prot­ago­nists; they are far too wrap­ped up in them­sel­ves to see whe­re they should be heading.

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Credits:

Doubles vies
Frankreich 2018, 107 Min., frz. OmU
Regie +Buch: Olivier Assayas
Kamera: Yorick le Saux
Schnitt. Simon Jacquet
mit: Juliette Binoche, Guillaume Canet, Vincent Macaigne, Nora Hamzawi

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Trailer:

DOUBLES VIES ZWISCHEN DEN ZEILEN von Olivier Assayas – Deutscher Untertitel Trailer

Diamantino

A film by Gabriel Abrantes + Daniel Schmidt. In Portuguese with ger­man subtitles.

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Diamantino, the world’s pre­mie­re soc­cer star loses his spe­cial touch and ends his care­er in dis­grace. Searching for a new pur­po­se, the inter­na­tio­nal icon sets on a deli­rious odys­sey whe­re he con­fronts neo-fascism, the refu­gee cri­sis, gene­tic modi­fi­ca­ti­on, and the hunt for the source of genius.

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Credits:

Portugal, Frankreich, Brasilien 2018, 92 Minuten
Regie: Gabriel Abrantes, Daniel Schmidt
Drehbuch: Gabriel Abrantes, Daniel Schmidt
mit: Carla Maciel, Carloto Cotta, Anabela Moreira, Filipe Vargas, Margarida Moreira, Cleo Tavares, Vítor de Almeida, Joana Barrios, Abílio Bejinha, Chico Chapas, Hugo Santos Silva

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Trailer:

DIAMANTINO – Trailer

Der Stein zum Leben

A film by Katinka Zeune. In German.

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A cir­cus wagon and a ship­ping con­tai­ner ser­ve as stone­ma­son Michael Spengler’s work­shop. It is here that he recei­ves peo­p­le in mour­ning. Together they design head­sto­nes that tell of the deceased.

Mr. and Mrs. Neustadt have lost their two-year-old son. Through their dia­lo­gue with Michael they find the words to express their emo­ti­ons, words that beco­me form and substance—their child’s breath is to be repre­sen­ted in a fra­gi­le lime­s­tone. Hardburg Stolle is a woman of few words, through Michael’s gui­dance she daunt­less­ly swings the ham­mer that splits a bould­er and feels a sen­se of strength that had been long buried. The Jacob fami­ly sear­ches for the essence of their grandfather’s life: lover of natu­re, bon vivant, patri­arch. What should an object that encap­su­la­tes him look like? Michael approa­ches the mate­ri­al and the peo­p­le with gre­at sen­si­ti­vi­ty and accom­pa­nies each fami­ly on a pro­cess that often takes months, one decis­i­on at a time.

The film tells the sto­ry of this dif­fi­cult and inti­ma­te pro­cess and shows how working on the stone makes death con­cre­te in the truest sen­se of the word. As the stone takes on its form, the fami­lies dis­co­ver a new rela­ti­onship with the deceased—and to life.

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Credits:

DE 2018, 77 Min., 
Regie & Kamera: Katinka Zeuner 
Schnitt: Anna Pesavento

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Oray

A film by Mehmet Akif Büyükatalay. In German, Turkish an Romani with German subtitles.

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In an argu­ment with his wife Burcu, Oray pro­no­un­ces the Islamic word for sepa­ra­ti­on, ‘talaq’. The Imam informs him of the con­se­quen­ces: Oray must now part from Burcu for three months. Oray uses the enforced break in their rela­ti­onship to make a fresh start and moves to Cologne. Here, he finds a job at a flea mar­ket and seeks out a new Muslim reli­gious com­mu­ni­ty, led by the young Imam Bilal. Soon, Oray beg­ins prea­ching hims­elf; he is espe­ci­al­ly popu­lar with the youn­ger mem­bers of the con­gre­ga­ti­on, and this makes Bilal jea­lous. When Burcu pays her hus­band a sur­pri­se visit, they rea­li­se that the break has done them good and they still love each other. Oray asks Bilal for advice. But the lat­ter advo­ca­tes a stric­ter inter­pre­ta­ti­on of Islamic law than the imam in Oray’s com­mu­ni­ty back home: pro­no­un­cing ‘talaq’ he says, does not mean a break, but a divorce. Director Mehmet Akif Büyükatalay employs a qua­si-docu­men­ta­ry style to tell the sto­ry of an indi­vi­du­al exhaus­ting hims­elf as he works his way through a religion’s com­plex belief sys­tem and his search for ful­film­ent as a human caught bet­ween his belief in love and his love for his faith.

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Credits:

DE 2018, dt.türk.,romani OmU, 100 Min.
Regie, Buch: Mehmet Akif Büyükatalay
Kamera: Christian Kochmann
Montage: Denys Darahan
mit:
Zejhun Demirov (Oray)
Deniz Orta (Burcu)
Cem Göktaş (Bilal)
Faris Yüzbaşıoğlu (Tanju)

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Trailer:

ORAY – Trailer from Pluto Film on Vimeo.

Klasse Deutsch

A film by Florian Heinzen-Ziob. In German.

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GERMAN CLASS takes us back to school. Over the cour­se of six months the film clo­se­ly fol­lows class tea­cher Ute Vecchio as she pre­pa­res child­ren who have just arri­ved from other count­ries for the German school sys­tem. Small suc­ces­ses, lar­ge set-backs, school pranks and the loo­ming thre­at of depor­ta­ti­on – the chal­lenges the child­ren face are just as diver­se as the count­ries and cul­tures they ori­gi­na­te from.The ambi­tious Pranvera, who even beats the boys in arm wrest­les, has to suf­fer the depor­ta­ti­on of her best fri­end. Ferdi, who dreams of working as a car mecha­nic, only has four months left to catch up on four years’ worth of school­work. And class clown Kujtim has alre­a­dy mana­ged to learn four lan­guages in his eventful life­time, but can­not wri­te any of them.

GERMAN CLASS is a tou­ch­ing por­trait of lear­ning, adap­ting and gro­wing in a new lan­guage and in a new socie­ty. A fresh look at an insti­tu­ti­on that we think we all know well – school.

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Credits:

DE 2018, 89 Min., 
Regie & Schnitt: Florian Heinzen-Ziob
Kamera: Enno Endlicher

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Trailer:

Klasse Deutsch / TRAILER from Florian Heinzen-Ziob on Vimeo.

Mir ist es egal, wenn wir als Barbaren in die Geschichte eingehen

A film by Radu Jude. In Romanian with German subtitles.

[Credits] [Indiekino Club] [Trailer]

Romania took an acti­ve part in the Holocaust – today the coun­try is in com­ple­te deni­al. An absurd mora­li­ty tale about sel­ec­ti­ve memo­ry in today’s Europe. Under General Antonescu, the mas­si­ve anti-Semitism pre­sent in Romanian socie­ty was made offi­ci­al govern­ment poli­cy, yet his role and that of his govern­ment in World War II are glo­ri­fied to this day. A young direc­tor wants to clear up the­se natio­nal myths and to this end plans a theat­re pro­duc­tion. What with unwil­ling extras, patro­ni­zing patrons and the cha­os in the direc­tor’s own life, the per­for­mance desi­gned as a wake-up call muta­tes step by step to a farce.

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Credits:

RO, BG, DE, FR 2018, 140 Min.,
rum.OmU
Regie, Buch: Radu Jude
Kamera: Marius Panduru
Schnitt: Cătălin Cristuţiu
mit: Ioana Iacob, Alexandru Dabija, Alex Bogdan

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Asche ist reines Weiß

A film by Jia Zhang-Ke. In Chinese with German subtitles.

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Set in 2001, Ash Is Purest White is a fusi­on of inno­va­ti­on, enter­tain­ment, and social cri­tique. Qiao (Zhao Tao) lives in a town tumb­ling into eco­no­mic decli­ne. She con­cerns hers­elf litt­le with such mat­ters becau­se her boy­fri­end, Bin (Liao Fan), is a dashing gangs­ter who works for a cor­rupt pro­per­ty deve­lo­per. After his boss is mur­de­red, Bin ascends in rank and finds hims­elf vul­nerable to rival hosti­li­ties. When Bin and Qiao are arres­ted, she makes a fateful decis­i­on: she takes the heat. After five years in pri­son, she emer­ges to find her world has trans­for­med. Her for­mer mafia asso­cia­tes have moved into legi­ti­ma­te busi­nesses, while Bin has found ano­ther moll. Qiao seeks reven­ge, but, more important­ly, she sear­ches for a new iden­ti­ty in a chan­ging China — a search that will take her to Three Gorges Dam and toward a powerful revelation.

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Credits:

CN/FR 2018, 141 Min., chin. OmU
Regie: Jia Zhang-Ke
Kamera: Eric Gautier
mit: Tao Zhao, Fan Liao, Zheng Xu, Casper Liang
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Trailer:

ASH IS PUREST WHITE – LES ETERNELS (Official Trailer OV/d, f)

Der Boden unter den Füßen

A film by Marie Kreutzer. In German with English subtitles.

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Lola is almost thir­ty. A suc­cessful manage­ment con­sul­tant, she is con­stant­ly on the move bet­ween the com­pa­nies she is tas­ked with res­truc­tu­ring. Her chic apart­ment in Vienna is more of a mail­box and a laun­de­ret­te than a home. A hundred working hours a week is not uncom­mon in addi­ti­on to five ses­si­ons at the gym, expen­si­ve din­ners with cli­ents and nights spent in ste­ri­le hotels. Her care­er, which she is advan­cing with cle­ver­ness, effi­ci­en­cy and ruthl­ess cun­ning, appears to be unstoppable. She appli­es a simi­lar­ly disci­pli­ned approach when it comes to mana­ging her pri­va­te life. This means that nobo­dy is allo­wed to know about the exis­tence of her older sis­ter Conny, who has been suf­fe­ring from men­tal ill­ness for a long time and who never lea­ves her apart­ment. But when Conny attempts to com­mit sui­ci­de, Lola sear­ches for a way to be the­re for her.
Marie Kreutzer’s por­trait of the jet-set­ting Lola reve­als that the­re is some­ti­mes just a thin line sepa­ra­ting polar oppo­si­tes such as order and cha­os, rise and fall – even for someone who thri­ves in a socie­ty fix­a­ted on achievement.

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Credits:

AT 2019, 108 Min.
Regie, Buch: Marie Kreutzer
Kamera: Leena Koppe
Schnitt: Ulrike Kofler
mit:Valerie Pachner Pia Hierzegger Mavie Hörbiger Michelle Barthel

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Trailer:

Der Boden unter den Füßen Trailer Deutsch | German [HD]

Luft zum Atmen

Sorry, this ent­ry is only available in Deutsch.

Ein Film von Johanna Schellhagen/labournet.tv.

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1972 grün­de­ten ein paar Arbeiter und Revolutionäre bei Opel in Bochum die „Gruppe oppo­si­tio­nel­ler Gewerkschafter”(GoG). Die GoG exis­tier­te über 40 Jahre und hat mit ihrer radi­ka­len Betriebsarbeit den Widerstandsgeist in der Bochumer Belegschaft befeuert.

Als Betriebsräte gaben sie gehei­me Informationen an die Belegschaft wei­ter, sie sorg­ten für acht­stün­di­ge Betriebsversammlungen, kämpf­ten gegen Krankenverfolgung, orga­ni­sier­ten ihren eige­nen Bildungsurlaub und ver­such­ten sogar, auf eige­nen Faust direk­te inter­na­tio­na­le Solidarität zwi­schen den ver­schie­de­nen General Motors Belegschaften in Europa her­zu­stel­len, um sich gegen die Standorterpressungen in den 90er Jahren zur Wehr zu setzen.

Ihre radi­ka­len Aktivitäten kul­mi­nier­ten schließ­lich in einem der wich­tigs­ten Wilden Streiks deut­schen Nachkriegsgeschichte, als die Belegschaft im Oktober 2004 sechs Tage lang das Werk besetz­te und die Produktion in ganz Europa lahmlegte.

Ein Portrait von Kollegen, die sich Gehör verschafften.

Credits:
D 2019, 71 Min.
Ein Film von Johanna Schellhagen/labournet.tv

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