A film by Marcelo Martinessi. In Spanish with ger­man subtitles.

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Chela and Chiquita have been a cou­ple for a very long time. Over the years they have beco­me adapt­ed to a fixed allo­ca­ti­on of roles. Extroverted Chiquita is respon­si­ble for mana­ging their life tog­e­ther. Chela on the other hand is reluc­tant to lea­ve the house, pre­fer­ring to spend the day at her easel. Financial dif­fi­cul­ties force them to sell some of their inhe­ri­ted fur­ni­tu­re, each part of which is a bel­oved pie­ce of memo­ra­bi­lia. When Chiquita is sent to pri­son for debt, Chela is sud­den­ly left on her own. She uses her old Daimler to pro­vi­de a taxi ser­vice to wealt­hy older ladies in the neigh­bour­hood. In her new role as chauf­feur, she meets one of the­se ladies’ daugh­ters – the young and life-affir­ming Angy. The encoun­ter lures the rather pas­si­ve Chela out of her reser­ve and helps her redis­co­ver her own desires.
Exploring the out­side world as ten­ta­tively and careful­ly as its heroi­ne, the film incre­asing­ly trains its gaze on a social stra­ta that is stran­ge­ly cut-off from rea­li­ty and lives wit­hout a thought for tomor­row. However, when Chela visits her girl­fri­end in pri­son, a com­ple­te­ly dif­fe­rent pic­tu­re emer­ges of con­di­ti­ons in Paraguay.

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Credits:
Las here­de­ras
PY/UY/DE/BR/NO/FR 2018, 95 Min., span. OmU,
Regie: Marcelo Martinessi
Kamera: Luis Armando Arteaga
Schnitt: Fernando Epstein
mit: Ana Brun, Margarita Irún, Ana Ivanova

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A film by Irene Lusztig. In English with German subtitles:

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A petrol sta­ti­on at an Atlanta inter­sec­tion. A pri­va­te estate in Bowling Green, Kentucky, com­ple­te with a per­fect lawn. The front yard of a fami­ly home in Connecticut. At first glan­ce, the places Irene Lusztig cho­se to visit on her two-year jour­ney through the United States seem unre­mar­kab­le. At each stop, Lusztig had local women read out and com­ment on let­ters from the archi­ve of libe­ral femi­nist maga­zi­ne “Ms.”. These let­ters were ori­gi­nal­ly sent around 40 years ago in respon­se to artic­les in the maga­zi­ne, ser­ving also as out­lets for their wri­ters, main­ly women, to share their per­so­nal sto­ries – with inti­ma­cy and can­dour, at times full of reli­ef, at other rage. The let­ters recount expe­ri­en­ces of abor­ti­ons or les­bi­an affairs with mar­ried women and rail against the magazine’s igno­rance of what real life meant for black women.
Irene Lusztig’s docu­men­ta­ry set-up suc­ceeds in brin­ging a wealth of expe­ri­en­ces from an ear­lier gene­ra­ti­on of the femi­nist move­ment into a com­plex dia­lo­gue with the pre­sent. The writ­ten word only appears to be at the fore, bey­ond it, the­re lies a who­le uni­ver­se of femi­nism for the view­er to dis­co­ver, which Yours in Sisterhood makes acces­si­ble on many levels.

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Credits:
USA 2018, 101 Min., engl. OmU
Regie, Kamera, Schnitt: Irene Lusztig

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A film by  Lucia Chiarla.  In German with eng­lish subtitles.

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“Reise nach Jerusalem” is a game based on luck: You have to be in the right place at the right time – or the­re won’t be any chair left for you.
Alice has been unem­ploy­ed for too long and she doesn’t win this stu­pid game any­mo­re. Her fri­ends got mar­ried, some had child­ren and built a care­er while she’s wri­ting job appli­ca­ti­ons sit­ting on her shaky chair and with her bro­ken notebook.

The employ­ment office con­ti­nuous­ly invi­tes her to some job appli­ca­ti­on coa­ching, whe­re she is forced to take per­sis­tent advices. Since some time alre­a­dy Alice has the fee­ling, that this has just the pur­po­se of making the unem­ploy­ment sta­tis­tics look nicer.

Eventually, she has no pati­ence any­mo­re and ends up refu­sing the arran­ge­ments of the jobcenter.
In spi­te of ever­y­thing, she still sur­vi­ves with petrol vou­ch­ers she gets from jobs in mar­ket rese­arch insti­tu­tes – to exch­an­ge them for money, cau­se she has no car, of cour­se. Her life beco­mes an absurd world of bar­ter trade. Family and fri­ends have no idea of how deep in trou­ble Alice is. Her per­sis­tent search for social accep­tance can­not save her from the incre­asing isolation.

Time runs on her Japanese for­tu­ne cat watch next to her lap­top: The rent remains unpaid, the bank is always cal­ling becau­se her account has a nega­ti­ve balan­ce and she has no way to pay the pho­ne bills. Alice keeps on fight­ing dai­ly against elec­tro­nic sounds that obs­truct her way. And the petrol vou­ch­ers remain vou­ch­ers. Even Sex has its pri­ce, as she has to rea­li­ze one night, as she tri­es to get rid of her isolation.

Therefore, she final­ly went to her neigh­bour Luca, who works as a strip­per. A very inten­se encoun­ter that will pull her out of her des­pair, just befo­re facing a radi­cal decis­i­on: Should she keep play­ing the game along or just let go?

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Credits:
DE 2018, 118 Min., Deutsch.m.engl.UT
Regie: Lucia Chiarla
Bildgestaltung: Ralf Noack 
Schnitt: Aletta von Vietinghoff 
mit: Eva Löbau, Beniamino Brogi, Veronika Nowag-Jones, Axel Werner
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A film by Kat Rohrer & Gil Levanon.

[Credits] [Termine] [Trailer]

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Credits:
AT, IL, DE, US 2017, 75 Min.,
OV (English/Hebrew) with German Subtitles (only German dia­lo­gue will have additional
eng­lish subtitles)
Regie: Kat Rohrer & Gil Levanon
Kamera: Thomas Marschall
Schnitt: Georg Eggenfellner

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Trailer:

Back To The Fatherland – Offical Trailer from Kat Rohrer on Vimeo.

A film by Ulrich Koehler. In German.

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ARMIN is get­ting too old for his night life habits and the woman he likes. He’s not real­ly hap­py, but can’t pic­tu­re living a dif­fe­rent life. One mor­ning he wakes up: the world looks the same as always, but man­kind has dis­ap­peared. – A film about the frigh­tening gift of maxi­mum freedom.

Now it’s dark and I’m alone
But I won’t be afraid
In my room
In my room
(Brian Wilson/Beach Boys)

Credits:

DE 2018, 120 Min., 
Buch & Regie: Ulrich Koehler
Kamera: K. Patrick Orth
Schnitt: Laura Lauzemis
mit: Hans Löw, Elena Radonicich, Michael Wittenborn, Ruth Bickelhaupt, Emma Bading, Katharina Linder

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Trailer:

A film by Ziad Doueiri. In Arabic with German subtitles.

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One after­noon in the dog days of a Beirut sum­mer, Tony gets into an alter­ca­ti­on with Yasser over a bro­ken drain­pipe. Tony is a mecha­nic and a Christian. Yasser is a con­s­truc­tion fore­man and a Palestinian. When Tony, hard-nosed and hot-hea­ded, refu­ses to accept Yasser’s half­he­ar­ted apo­lo­gy, two brui­sed male egos begin to swell. Tony utters an unf­or­gi­veable insult to Yasser. With a speed neither man could fore­see, their per­so­nal argu­ment escala­tes through the neigh­bor­hood and the city to the natio­nal stage. The dis­pu­te comes to encap­su­la­te the las­ting lega­cy of the Lebanese Civil War – and beco­mes a light­ning rod for peo­p­le with more power than eit­her man to pur­sue their own agendas.
THE INSULT is an impec­ca­bly made poli­ti­cal dra­ma, laye­red with cle­ver obser­va­tions on the com­plex histo­ry of the regi­on. But, abo­ve all, this is a tale of two men trap­ped by the past and try­ing, as best they can, to escape from its grasp in order to move into the future. (Kiva Reardon)

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Credits:

L’insulte
FR/LB 2017, 113 Min, arab. OmU
Regie: Ziad Doueiri
Kamera: Tommaso Fiorilli
Schnitt: Dominique Marcombe
mit: Adel Karam, Rita Hayek, Kamel El Basha, Camille Salameh

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The film is shown in  Arabic with German subtitles.

A film by Kiril Serebrennikov. In Russian with German subtitles.

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Leningrad, one Summer in the ear­ly Eighties. The under­ground rock sce­ne is boiling.
Amongst the fol­lo­wers of Led Zeppelin and Bowie, young Viktor Tsoi is eager to make a name for himself.
The encoun­ter with his idol Mike and his beau­tiful wife Natasha will chan­ge his life fore­ver. Together they will build Viktor’s legend and make him immortal.

Credits:
RU 2018, 126 Min., russ. OmU
Regie: & Schnitt: Kiril Serebrennikov
Kamera: Vladislav Opelyants
mit: Teo Yoo, Irina Starshenbaum, Roma Zver, Anton Adasinsky, Liya Akhedzhakova

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Trailer:

Trailer LETO from xenix­film on Vimeo.

A film by Adina Pintilie. In German and English with German subtitles.

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‘Tell me how you loved me, so I under­stand how to love.’
Together, a film­ma­ker and her cha­rac­ters ven­ture into a per­so­nal rese­arch pro­ject about inti­ma­cy. On the flu­id bor­der bet­ween rea­li­ty and fic­tion, Touch Me Not fol­lows the emo­tio­nal jour­neys of Laura, Tómas and Christian, offe­ring a deep­ly empa­thic insight into their lives. Craving for inti­ma­cy yet also deep­ly afraid of it, they work to over­co­me old pat­terns, defen­se mecha­nisms and taboos, to cut the cord and final­ly be free.
Touch Me Not looks at how we can find inti­ma­cy in the most unex­pec­ted ways, at how to love ano­ther wit­hout losing ourselves.

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Credits:
Rumänien / Deutschland / Tschechische Republik / Bulgarien / Frankreich 2018
Englisch, Deutsche OmU, 125 Min.
Regie, Buch, Schnitt: Adina Pintilie
Kamera: George Chiper-Lillemark
mit: Laura Benson, Tómas Lemarquis, Christian Bayerlein, Grit Uhlemann, Hanna Hofmann, Seani Love, Irmena Chichikova, Rainer Steffen, Georgi Naldzhiev, Dirk Lange

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Trailer:

A film by Marie Wilke. In German.

[Credits] [Termine] [Trailer]

The gui­ded tours in the Reichstag buil­ding are well atten­ded; there’s lots of laugh­ter at the simu­la­ted vote on a bill. At the Bundestag’s “Infomobile” in Dresden, a citi­zen com­plains that the govern­ment is out of touch with the peo­p­le. SPD par­lia­men­ta­ri­ans attend a work­shop to prac­ti­se stra­te­gies for deal­ing with right-wing popu­list topics. A crowd chants: clo­se the bor­ders! Journalists from the taz and Bild-Zeitung news­pa­pers dis­cuss the issues of the day. An edi­to­ri­al team from TV sta­ti­on MDR pro­du­ces a report entit­led “Attack on Democracy – the New Right.” Calmly and sober­ly, Aggregat coll­ects astu­te­ly obser­ved and careful­ly arran­ged sce­nes from the dai­ly life of media and poli­tics in con­tem­po­ra­ry Germany. The came­ra always keeps its focus, the mon­ta­ge makes use of hard cuts and cuts to black. The uncon­nec­ted frag­ments show situa­tions wit­hout com­ment rela­ting to how poli­tics is media­ted or socie­ty dis­cus­sed. The role of the media as the fourth estate comes in for scru­ti­ny, as do the cri­te­ria which shape covera­ge. And ano­ther impres­si­on left by the film is the sheer amount of pains­ta­king work nee­ded to pre­ser­ve the grand idea of democracy.

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Credits:
DE 2018, 92 Min.
Regie, Buch: Marie Wilke
Kamera: Alexander Gheorghiu
Schnitt: Jan Soldat, Marie Wilke

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A film by Stephen Loveridge. In English and Tamil with German subtitles.

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Charting her expe­ri­en­ces of civil war and migra­ti­on to her rise as a popu­lar but con­tro­ver­si­al star, this docu­men­ta­ry film traces the life of the sin­ger and pop icon M.I.A. Born in Sri Lanka to the foun­der of the Tamil inde­pen­dence move­ment, Mathangi ‘Maya’ Arulpragasam – ali­as M.I.A. – fled to London with her mother and siblings at the age of nine. Her ori­gi­nal plan being to beco­me a docu­men­ta­ry film­ma­ker, she retur­ned to Sri Lanka as an art stu­dent and began film­ing her fami­ly mem­bers. Her jour­ney and her expe­ri­en­ces with Sri Lanka’s mili­ta­ry regime have shaped her artis­tic and poli­ti­cal atti­tu­des. She began making music and has deve­lo­ped a cul­tu­re clash aes­the­tic inspi­red by street art, hip-hop and various migrant com­mu­ni­ties in London that has lead to world­wi­de suc­cess. However, her sup­port for the Tamil rebels and her ‘bad girl’ iden­ti­ty have been harsh­ly cri­ti­cis­ed by main­stream media, poli­ti­ci­ans and con­ser­va­ti­ve mem­bers of the public. Using archi­ve mate­ri­al from the last 22 years, most of which was shot by Maya hers­elf, Steve Loveridge reve­als how Maya uses pop music as a poli­ti­cal mouth­pie­ce and does not shy away from being an outsider.

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Credits:
US/GB 2018, 100 Min., engl. OmU
Regie: Stephen Loveridge
Kamera: Graham Boonzaaier, Catherine Goldschmidt, Matt Wainwright
Schnitt: Marina Katz, Gabriel Rhodes
mit: Maya Arulpragasam
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Trailer: