Category Archives: archiv

Sunburned

A film by Caroline Hellsgard.

[Credits] [Termine & Tickets] [Trailer]

Claire (13) is vaca­tio­ning with her sis­ter Zoe (15) and mother Sophie (40) at a resort hotel in sou­thern Spain. Sophie spends her days by the pool and shows a mini­mum of inte­rest in her daugh­ters. In the begin­ning Claire clings to her older sis­ter Zoe, who mer­ciful­ly lets her tag along. But when Zoe meets a boy her own age, Claire is left alo­ne. By the beach Claire befri­ends Amram, a young Senegalese beach ven­dor. As their rela­ti­onship deepens, Claire tri­es to help him, but unin­ten­tio­nal­ly ends up making his life even more complicated.

 

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Credits:

Deutschland/Polen 2019, 92 Min.
Regie & Buch: Caroline Hellsgard
Kamera: WojciechStaron
Schnitt: RuthSchönegge
mit: Zita Geier, Gedion Odour Wekesa, Sabine Timoteo, Nicolais Borger, Flora Li Thiemann, Malik Blumenthal

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Trailer:

 

 

Tokyo Story

Sorry, this ent­ry is only available in Deutsch.

[indie­ki­no Club]

“Das Ende einer Ozu-Retrospektive ist immer ein per­sön­li­cher Verlust.” schrieb ein­mal Fritz Göttler, Filmredakteur der SZ.. – Wir stim­men dem zu, und weil die letz­te aus­führ­li­che Retro in Berlin schon über 6 Jahre her ist, steht jetzt als Trost einer sei­ner bes­ten, und wohl auch sein bekann­tes­ter Film zwei Wochen lang als Wiederaufführung auf unse­rem Programm : „Tokyo Monogatari – Reise nach Tokio,” eine behut­sa­me, in ruhi­gem Bildrhythmus ent­fal­te­te Studie über das Auseinanderleben einer Familie, über die Begegnung von Tradition und Moderne. Ein Elternpaar vom Lande besucht die erwach­se­nen Kinder in der Stadt, und sie sind nicht sehr will­kom­men. Man bemüht sich zwar um sie und strickt Programme, aber schon ein paar Tage spä­ter wer­den sie in ein Seebad abgeschoben.

„Wer die­ses Meisterwerk der Filmkunst, oder Filme von Yazujiro OZU über­haupt noch nicht kennt, darf sich die Gelegenheit, den Film auf der Leinwand in der Originalfassung mit dt. Untertiteln zu sehen, nicht ent­ge­hen las­sen. Alle ande­ren kön­nen sich ihn zum zwei­ten oder drit­ten Mal anschau­en, ist er doch stil­prä­gend für vie­le ernst­zu­neh­men­de Filmemacher und ganz all­ge­mein weg­wei­send für vie­le Kinosozialisationen.”

Japan 1953, 136 Min.,
jap. OmU

R.: Yasujiro Ozu
B. : Y. Ozu, Kogo Noda

D.: Chishu Ryu,
Chieko Higashiyama, Setsuko Hara

schwei­zer Webseite

Isadoras Kinder

A film by  Damien Manivel. In French with German subtitles.

[Credits]  [Trailer]

Following the death of her two child­ren, Isadora Duncan crea­ted the solo Mother in which a mother crad­les her child in a moment of extre­me ten­der­ness, then lets it go. A cen­tu­ry later, four women encoun­ter this heart-ren­ding dance.

„Manivel hadn’t made a film spe­ci­fi­cal­ly about dance befo­re, though this art he long prac­ti­ced lent all his pre­vious films their pre­cis­i­on and rigor. Isadora’s Children should the­r­e­fo­re be seen as the sum­ma­ti­on of a visi­on, that of a cine­ma that devo­tes infi­ni­te atten­ti­on to the tenuous folds of emo­ti­on and beau­ty.” Antoine Thirion

 

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Credits:

LES ENFANTS D’ISADORA
Frankreich, Korea 2019,  84 Min., frz.OmU
Regie: Damien Manivel
Kamera:  Noé Bach
Schnitt: Dounia Sichov
mit:Agathe Bonitzer, Manon Carpentier, Marika Rizzi, Elsa Wolliaston

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Trailer:

ISADORAS KINDER, offi­zi­el­ler Trailer from eksys­tent dis­tri­bu­ti­on on Vimeo.

 

nach oben

Der nackte König – 18 Fragmente über Revolution

A film by Andreas Hoessli. Postponed.

[Credits] [Termine] [Trailer]

1979, Revolution in Iran. 1980, Revolution in Poland. The fall of the Shah, the „King of Kings” in Iran, mass strikes and the „Solidarnosc” move­ment in Poland. What hap­pen­ed in the minds of the young women and men who were invol­ved in the revo­lu­ti­ons at the time? What hap­pen­ed to them when the revo­lu­ti­on was sup­pres­sed or – as in Iran – when a reli­gious-aut­ho­ri­ta­ri­an eli­te took power?

„Der nack­te König – 18 Fragmente über Revoution” wur­de am Dokumentarfilmfestival München 2019 mit dem Hauptpreis im inter­na­tio­na­len Wettbewerb aus­ge­zeich­net. Begründung der Jury: „We reco­gni­ze a pre­cise psy­cho­lo­gi­cal por­trait of a per­pe­tual­ly shat­te­ring world. As this essay moves across time, it tran­s­cends the power of record and docu­men­ta­ti­on alo­ne, to sur­vey the remains of revo­lu­ti­on, in con­ver­sa­ti­on with roman­ti­cism and limitation.”

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Credits:

CH/DE/PO 2019., 108 Min., Polnisch, Farsi, Englisch, Deutsch OmU, 
Buch und Regie: Andreas Hoessli
Schnitt: Lena Rem
Kamera: PeterZwierko

Termine:

  • noch kei­ne oder kei­ne mehr 

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Trailer:

DnK – Der Nackte König_Trailer-DE from Mira Film on Vimeo.

 

Giraffe

A film by Anna Sofie Hartmann.  In German, Danish, English & Polish with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Found in a flee­ting detail, the expl­ana­ti­on for the film’s title could go unno­ti­ced. What is obvious, howe­ver, is the graceful look and ele­va­ted per­spec­ti­ve of a fic­tion­al sto­ry roo­ted in his­to­ri­cal mate­ria­lism, taking advan­ta­ge of a European con­s­truc­tion site for a tun­nel con­nec­ting Denmark and Germany to pre­ser­ve the memo­ry of a ter­ri­to­ry fated to dis­ap­pear, while exami­ning social rela­ti­onships that have been shat­te­red by the ideo­lo­gy of progress.

Antoine Thirion

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Credits:

DK/DE 2019, 87 Min.,  deutsch/englisch/dänisch/polnische OmU
Buch & Regie: Anna Sofie Hartmann 
Kamera: Jenny Lou Ziegel 
Schnitt: Sofie Steenberger
mit Lisa Loven Kongsli, Maren Eggert, Jakub Gierszał, Mariusz Feldman,

Termine:

  • noch kei­ne oder kei­ne mehr 

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Trailer: (vor­läu­fig)


Im Kino mit deut­schen Untertiteln.

Sibyl

A film by Justine Triet. In French with German subtitles

[Credits] [Tickets & Termine] [Trailer]

Sibyl, a jaded psy­cho­the­ra­pist, returns to her first pas­si­on: wri­ting. But her newest pati­ent Margot, a trou­bled up-and-coming actress, pro­ves to be a source of inspi­ra­ti­on that is far too temp­ting. Fascinated almost to the point of obses­si­on, Sibyl beco­mes more and more invol­ved in Margot’s tumul­tuous life, revi­ving vola­ti­le memo­ries that bring her face to face with her past.

Justine Triet (In Bed with Victoria, Cannes 2016 – Critics’ Week Opening Film) con­ti­nues her unre­ser­ved explo­ra­ti­on of the modern woman’s psy­che with this inten­se and laye­red story.

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Credits:

FR 2019, 100 Min., frz. OmU
Regie : Justine Triet
Kamera: Simon Beaufils
Schnitt: Laurent Sénéchal
mit: Virginie Efira, Adèle Exarchopoulos, Gaspard Ulliel, Sandra Hüller

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Trailer:

Schlingensief – In das Schweigen hineinschreien

A film by Bettina Böhler. In German with English subtitles.

[Credits] [Tickets &Termine] [Trailer]

What a joy it is to lis­ten to and watch Christoph Schlingensief once more! His razor-sharp mind, mischie­vous iro­ny and the poli­ti­cal cla­ri­ty with which he talks about hims­elf, his art and his films in Bettina Böhler’s docu­men­ta­ry make us keen­ly feel the loss of this excep­tio­nal artist. But at the same time, here he is, brought back to life on the big screen. In 2020, Christoph Schlingensief would have tur­ned 60. Bettina Böhler’s bril­li­ant­ly edi­ted work pulls off the con­sidera­ble feat of retel­ling his life and oeu­vre exclu­si­ve­ly from archi­ve foo­ta­ge in just two hours. From Schlingensief’s first Super 8mm films to his Fluxus Oratorio “A Church of Fear vs. The Alien Within”, her film spans for­ty years of crea­ti­vi­ty that also reflects for­ty years of (German-)German histo­ry, with which Schlingensief radi­cal­ly enga­ged throug­hout his life. Böhler mas­terful­ly assem­bles film clips and pri­va­te vide­os, recor­dings of theat­re per­for­man­ces and copious hither­to unpu­blished and new­ly digi­ta­li­sed mate­ri­al. At the end of this tour de force we are left with the ques­ti­on: Would Schlingensief’s art be con­ceiva­ble in this form today?

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Credits:

DE 2020, 124 Min., 
Regie, Buch, Schnitt: Bettina Böhler
mit Christoph Schlingensief, Margit Carstensen, Irm Hermann, Alfred Edel, Udo Kier

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Trailer:

Schlingensief – In das Schweigen hin­ein­schrei­en | Offizieller Trailer HD | Jetzt im Kino

Kokon

A film by Leonie Krippendorff.  In German with English subtitles.

[Credits] [Tickets & Termine] [Trailer]

“We’re like fish in a fish tank. We keep swim­ming round in cir­cles, from one end of Kotti to the other and back again, until we even­tual­ly mana­ge to jump out of the tank.”

Berlin-Kreuzberg is Nora’s micro­c­osm. Nora, the silent obser­ver, is always tag­ging along: At par­ties, at school, at the pool, on roof­tops and in apart­ments. Nora drifts around the mono­to­no­us housing blocks with her big sis­ter and her fri­ends, wit­nessing events that seem to cross-fade in the sum­mer light. Girls who want to be slim and pret­ty, boys who say dumb things to pro­vo­ke or becau­se they are in love. Ruthless smart­phone came­ras and fra­gi­le teen­agers. But Nora has her own way of loo­king at the world, and when she meets Romy, she rea­li­zes why. There is music in the air, Nora’s body is chan­ging, and cater­pil­lars are spin­ning their cocoons. Realistic and taking on the protagonist’s per­spec­ti­ve, this film cap­tures a sum­mer of change.

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Credits:

DE 2020, 95 Min., dt. OmeU
Regie & Buch: Leonie Krippendorff
Schnitt: Emma Alice Gräf
Kamera: Martin Neumeyer
mit: Lena Urzendowsky, Jella Haase, Lena Elenke, Elina Vildanova, Anja Schneider, Denise Ankel


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Trailer:

Kokon Trailer Deutsch | German [HD]

Undine

A film by Christian Petzold. In German with English subtitles.

[Credits] [Termine & Tickets] [Trailer]

Undine works as a his­to­ri­an lec­tu­ring on Berlin’s urban deve­lo­p­ment. But when the man she loves lea­ves her, the anci­ent myth cat­ches up with her. Undine has to kill the man who betrays her and return to the water.

Berlinale 2020: International Competition

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Credits:

DE/FR 2019, 89 Min., dt. OmeU
Regie: Christian Petzold
Kamera: Hans Fromm
Schnitt: Bettina Böhler
mit Paula Beer, Franz Rogowski, Maryam Zaree

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Trailer:

UNDINE – der neue Film von Christian Petzold – offi­zi­el­ler Trailer

Paris Calligrammes

A film by Ulrike Ottinger. In German.

[Credits] [Trailer]

In a rich tor­rent of archi­val audio and visu­als, pai­red with extra­cts from her own art­works and films, Ottinger resur­rects the old Saint-Germain- des-Prés and Latin Quarter, with their lite­ra­ry cafés and jazz clubs, and revi­sits encoun­ters with Jewish exi­les, life with her artis­tic com­mu­ni­ty, the world­views of Parisian eth­no­lo­gists and phi­lo- sophers, the poli­ti­cal uphe­avals of the Algerian War and May 1968, and the lega­cy of the colo­ni­al era. “I fol­lo­wed the foot­s­teps of my hero­i­nes and heroes,” Ottinger nar­ra­tes. “Wherever I found them, they will appear in this film too.”

„In 1962, as a young artist, I came to live and work in Paris. That peri­od until 1969, when I left the city, was not only one of the most for­ma­ti­ve for me, it was also an era of intellec­tu­al, poli­ti­cal, and social uphe­aval in modern histo­ry. The film PARIS CALLIGRAMMES com­bi­nes my per­so­nal memo­ries of the 1960s with a por­trait of the city and a social car­to­gra­phy of the age. Like Guillaume Appolinaire’s poet­ry coll­ec­tion Calli- gram­mes: Poèmes de la paix et de la guer­re (Cal- ligrams: Poems of Peace and War), I have given it the form of a fil­mic “pic­tu­re-poem” (cal­li­gram) in which the words and images, com­ple­men­ted by lan­guage, sound, and music, form a mosaic that emer­ges from the viva­ci­ty of tho­se exci­ting years while spea­king to the fra­gi­li­ty of all cul­tu­ral and poli­ti­cal achie­ve­ments. The Ariadne thread through the film is a walk across Paris with many stops whe­re topics are rai­sed out of any chro­no­lo­gi­cal order. In the tra­di­ti­on of the flâ­neur, I visit focal points in the city that were meaningful to me per­so­nal­ly and to the sto­ry of the 1960s, sites whe­re signi­fi­cant poli­ti­cal events tran­spi­red, important cul­tu­ral and artis­tic encoun­ters occur­red, and new com­mu­nal ways of life evol­ved. Not only was Paris in that time a “mel­ting pot” of intellec­tu­als and artists from all over the world, it was also under­go­ing the dif­fi­cult poli­ti­cal era of deco­lo­niza­ti­on. The War in Algeria, and later the Vietnam War, over-shadowed the peri­od of rea­wa­ke­ning after the Second World War and brought peo­p­le from the colo­nies and poli­ti­cal con­flicts into the capi­tal. Thus my fri­end­ships that deve­lo­ped in tho­se years were so inter­na­tio- nal and colorful, so exci­ting and inten­se.” (Ulrike Ottinger)

 

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Credits:

DE/FR 2019, 129 Min.,  dt. VO (Sprecherin U. Ottinger), dt. Teil-UT sowie engl. Voll-UT
Buch, Regie & Kamera: Ulrike Ottinger
Schnitt: Anette Fleming

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Trailer:

PARIS CALLIGRAMMES – Offizieller Trailer