A film by Frederick Wiseman.  In English with German subtitles.

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Cinematically vivi­sec­ting US-insti­tu­ti­ons sin­ce 1967, Frederick Wiseman has been able to sus­tain inte­rest throug­hout his docu­men­ta­ry epi­cs becau­se his obser­va­tio­nal approach insists that dra­ma is woven into the fabric of ever­y­day life. EX LIBRIS beg­ins by intro­du­cing the NYPL as a public-pri­va­te part­ner­ship. Whether sit­ting in on free talks by gre­at thin­kers like Patti Smith, obser­ving a job fair in the Bronx, or pee­king into a down­town recor­ding stu­dio. – Wiseman boun­ces bet­ween three dif­fe­rent boroughs wit­hout ever losing sight of how the Library sur­vi­ves by giving peo­p­le the resour­ces they need. “Libraries are not about books,” someone says in the film, “libra­ri­es are about peo­p­le.” As EX LIBRIS makes clear, the NYPL is more than just a repo­si­to­ry of dus­ty hard­co­vers. It’s a tree with 92 bran­ches, and deep roots that bind new york city tog­e­ther. It’s a living orga­nism that allows peo­p­le to bet­ter dis­co­ver and con­tex­tua­li­ze their place in this world. But the main source of con­ten­ti­o­nof this film — is the ques­ti­on of digi­tiza­ti­on. Wiseman is fasci­na­ted by how an insti­tu­ti­on of this size and signi­fi­can­ce tran­si­ti­ons from a pas­si­ve archi­ve to an acti­ve part of the community.
(David Ehrlich)

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Credits:
USA 2017, 206 Min., engl. OmU,
Regie, Buch, Schnitt:Frederick Wiseman

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Trailer:

Sorry, this ent­ry is only available in Deutsch.

Vorträge, Gespräche & Filmvorführungen in der Denkerei und im fsk Kino in Berlin,

19. – 21. Oktober

Die Veranstaltung „Der Essayfilm – sicht­ba­res Denken“ wid­met sich dem Essayfilm als expe­ri­men­tel­ler Filmform zwi­schen Spiel- und Dokumentarfilm – jeder Abend geht mit einer Projektion im fsk Kino zu Ende. Nähere Informationen zu den Vorträgen & Gesprächen in der Denkerei fin­den sich unter:

https://denkerei-berlin.de/kalender/?id=1284

Filmprogramm:

VOR ALLER AUGEN (19.10.)

Wachen und Warten im unsicht­ba­ren Bildernetz – VOR ALLER AUGEN ist eine bahn­bre­chen­de Studie zu frü­hen visu­el­len Kulturen der Kontrollgesellschaft. 40 Kameras einer Videoüberwachungsanlage beob­ach­ten das Geschehen in den Innen- und Außenräumen des Berliner ICC.

Im Anschluss fin­det ein Gespräch zwi­schen dem Regisseur Heiner Mühlenbrock und der Filmkritikerin Anke Sternborg statt. 

LANGE FILMNACHT: EIN BEST OF DES ESSAY FILM FESTIVALS, LONDON (20.10.)

THE IMAGED YOU MISSED ist ein Film im Film: Der Amerikaner Arthur MacCaig war über 30 Jahre lang fil­mi­scher Chronist des Bürgerkriegs in Nordirland. Sein Sohn, der iri­sche Regisseur Donal Foreman, hat die Geschichte des Vaters in Bildern rekonstruiert. 

Mark Rappaport ist ein Pionier des boo­men­den Genres „Visuelle Filmkritik“. Wir zei­gen drei sei­ner letz­ten Videocollagen: JOHN GARFIELD ist ein Tribut an den jüdi­schen US-ame­ri­ka­ni­schen Schauspieler John Garfield, „an out­si­der with a poli­ti­cal per­spec­ti­ve“. OUR STARS wid­met sich dem Thema Begehren im Starsystem Hollywood. SERGEI/SIR GAY spe­ku­liert über die laten­te Homosexualität Sergej Eisensteins aus der Perspektive eines fik­ti­ven, spie­le­ri­schen Ichs. 

Die „Lange Filmnacht“ wird von Michael Temple, Direktor des The Essay Film Festival, London, präsentiert. 

FRÜHE VIDEOARBEITEN VON JEAN-LUC GODARD: 6X2, SUR ET SOUS LA COMMUNICATION (21.10.)

„Mit Six fois deux hat Godard sechs­mal zwi­schen den Bildern und Tönen die Fluchtlinie schöp­fe­ri­schen Handelns auf­blit­zen las­sen, und mit ihr hat er das Fernsehen ent­führt.“ (Gilles Deleuze)

Zusammen mit Anne-Marie Miéville grün­de­te Jean-Luc Godard Anfang der sieb­zi­ger Jahre in Grenoble die Videogesellschaft „Sonimage“. Unter dem Eindruck der tech­ni­schen Möglichkeiten des Videoformats ent­ste­hen zahl­rei­che Filmprojekte, die anstel­le des Kinos das Fernsehen adres­sie­ren. Die expe­ri­men­tell ange­leg­te Serienproduktion „Six fois deux [sur et sous la com­mu­ni­ca­ti­on]“ (R: Godard/Miéville, 1976, 610 Min.) skiz­ziert for­mal und inhalt­lich neue Wege, das Fernsehen als dis­kur­si­ves Medium zu etablieren.

Gezeigt wer­den die Episoden „Photos et cie“ und „Marcel“ sowie Ausschnitte aus einem Interview, das Wilfried Reichart Ende November 1976 mit Godard in Grenoble führ­te. Der Vorführung geht eine Einführung von Wilfried Reichart und Thomas Helbig voraus.

Fr., 19.10., 19:30 Uhr – 21:30

VOR ALLER AUGEN
BRD, ¹⁹⁸²⁄₉₀, 60 Min., Regie: Heiner Mühlenbrock 

Sa., 20.10., 21:00 Uhr

THE IMAGED YOU MISSED
Irland/FR/USA 2108, 74 Min., Regie: Donal Foreman
Englisch/Französisch mit eng­li­schen Untertiteln

JOHN GARFIELD
USA/FR, 2002, 9 Min., Regie: Mark Rappaport

OUR STARS
USA/FR, 2015, 27 Min., Regie: Mark Rappaport

SERGEI/SIR GAY
USA/FR, 2017, 36 Min., Regie: Mark Rappaport

Englische Originalfassungen

So., 21.10., 21:00 Uhr

PHOTO & CIE
Episode aus der TV-Serie 6X2, SUR ET SOUS LA COMMUNICATION, FR, 1976, 46 Min., Regie: Jean-Luc Godard et Anne-Marie Miéville

MARCEL
Episode aus der TV-Serie 6X2, SUR ET SOUS LA COMMUNICATION, FR, 1976, 55 Min., Regie: Jean-Luc Godard et Anne-Marie Miéville

Deutsche Synchronfassungen

2

A film by Erik Lemke. In German.

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A num­ber of deco­ra­ti­ve boards care­less­ly atta­ched to the pale front of a dull con­cre­te apart­ment block – the Excelsior buil­ding, Berlin. For most of its inha­bi­tants this is just a sto­po­ver, very soon, life is going to get bet­ter, and ever­yo­ne is try­ing to find their own way: 49 year old Michael tri­es to live up to his for­mer suc­cess as an escort by pro­mo­ting the appli­ca­ti­on of „invi­si­ble make-up” online. Claudia’s show­girl days are over, but the pho­tos of a shoo­ting ses­si­on are to smooth her way back to the stage any­way. Norman’s start­up „ChangeU” is desi­gned to help peo­p­le get hap­py and hims­elf get a sleek new sports car…
Hardly anyo­ne of them mana­ges to eva­de fal­ling vic­tim to the tempt­a­ti­ons of our suc­cess-ori­en­ted society.

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Credits:
DE 2017, 87 Minuten,
Regie/Schnitt: Erik Lemke
Buch: Erik Lemke & André Krummel
Bildgestaltung: André Krummel 

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A film by Gustav Möller. In Danish with German subtitles.

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Alarm dis­patcher and for­mer poli­ce offi­cer, Asger Holm, ans­wers an emer­gen­cy call from a kid­nap­ped woman. When the call is sud­den­ly dis­con­nec­ted, the search for the woman and her kid­nap­per beg­ins. With the pho­ne as his only tool, Asger enters a race against time to save the end­an­ge­red woman. But soon he rea­li­zes that he is deal­ing with a crime that is far big­ger than he first thought

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Credits:
Den skyl­di­ge
Dänemark 2017, 85 Min., dän. OmU
Regie: Gustav Möller
Kamera: Jasper J. Spanning
Schnitt: Carla Luff
mit: Jakob Cedergren

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A film by Mark Michel. In German.

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Since her ear­liest child­hood, Veronika Raila has been living with seve­re phy­si­cal impairm­ents and Asperger syn­dro­me. She can neither speak, nor walk nor ful­fill her ever­y­day needs wit­hout assis­tance. When she was a child, her IQ tes­ted zero. Today she stu­dies at uni­ver­si­ty, wri­tes poet­ry and pro­se and can express hers­elf with faci­li­ta­ted com­mu­ni­ca­ti­on. Veronika pos­s­es­ses a keen mind and a heigh­ten­ed sen­so­ry per­cep­ti­on. Within Veronika spaces open whe­re rea­li­ty appears as colors, sounds and abs­tract shapes. She pro­ces­ses the­se impres­si­ons in her poems and sto­ries. ”Writing is my only means to com­mu­ni­ca­te, to express my fee­lings and thoughts. Writing is my con­nec­tion to the out­side world. Without it, I would be lost in the depths of a for­got­ten well.” Veronika Raila

The docu­men­ta­ry essay Sand Girl takes us on a cine­ma­tic jour­ney to the young author’s wond­rous secret and cap­ti­vat­ing world. Through asso­cia­ti­ve images, obser­va­tions of ever­y­day life and sel­ec­ted texts by Veronika Raila the film crea­tes a space for tou­ch­ing encoun­ters and moments of bon­ding. The focus is less on ill­ness and impair­ment than the quest for the life force its­elf. A poe­tic medi­ta­ti­on about what is often hard for humans to grasp, the natu­re of what we call mind and soul. Sand Girl was pro­du­ced in clo­se coope­ra­ti­on with Veronika Raila.

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Credits:
D 2017, 84 Min.
Buch: Mark Michel & Veronika Raila
Regie: Mark Michel
Kamera: Ines Thomsen
Schnitt: Andreas Baltschun, Mark Michel, Ed van Megen

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• noch kei­ne oder kei­ne mehr 

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A film by Lukas Dhont. In French and Flemish with German subtitles.

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While Lara alre­a­dy iden­ti­fies as a girl, her world is under­go­ing signi­fi­cant and much desi­red trans­for­ma­ti­on. She has just moved with her father and bel­oved kid brot­her to a new city whe­re she has been pro­vi­sio­nal­ly accept­ed into a pres­ti­gious dance school and she will soon be old enough to start hor­mo­ne repla­ce­ment the­ra­py. Lara’s aspi­ra­ti­on to femin­in­i­ty is so gre­at that she has cho­sen the most extre­me phy­si­cal form of its expres­si­on. But here, dance is not a release. Held cap­ti­ve by her body, she tapes her geni­tals and hides the bloo­di­ed feet which have not grown up en poin­te like the other girls. While her father offers her not­hing but sup­port, she is all teenage uncer­tain­ty and impa­ti­ence and her inte­ri­or world moves clo­ser to self-des­truc­tion even as her outer beau­ty blooms.

Credits:
Belgien 2018, 105 Min., flä­misch, fran­zö­si­sche OmU
Regie: Lukas Dhont
Kamera: Frank van den Eeden
Schnitt: Alain Dessauvage
mit:
Victor Polster, Arieh Worthalter, Katelijne Damen

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• noch kei­ne oder kei­ne mehr 

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A film by Erik Poppe. In Norwegian with German subtitles.

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On 22 July 2011 five hundred young peo­p­le atten­ding a sum­mer camp on the island of Utøya were atta­cked by a hea­vi­ly armed right-wing extre­mist. The mur­de­rous attack clai­med the lives of 69 vic­tims. It was a trau­ma that rocked Norway to the core, and still does to this day. Director Erik Poppe has dared to attempt to turn the events of that sum­mer into a film. His dra­ma opens with docu­men­ta­ry foo­ta­ge of Oslo whe­re, short­ly before­hand, the same atta­cker had explo­ded a car bomb kil­ling eight peo­p­le; the sce­ne then shifts to the island. The came­ra fol­lows 19-year-old Kaja who is spen­ding a few days of the holi­day here with her young sis­ter Emilie. The two are quar­rel­ling becau­se Emilie is in no mood for the camp and has abso­lut­e­ly no desi­re to go to the bar­be­cue. And so Kaja ends up going alo­ne. Suddenly, the first gunshot is heard.
This first shot marks the begin­ning of a breathl­ess 72-minu­te-long recon­s­truc­tion of events, film­ed in a sin­gle take, as seen through the eyes of the vic­tims. Kaja’s despe­ra­te search for Emilie. The fear in the eyes of the young peo­p­le. Their escape into the forest. Their despe­ra­te hope of res­cue. And the unknown ass­as­sin, get­ting clo­ser and closer.

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Credits:
U – July 22
Norwegen 2018, norw. OmU, 90 Min.
Regie: Erik Poppe
Kamera: Martin Otterbeck
Schnitt: Einar Egeland

mit: Andrea Berntzen
Aleksander Holmen
Brede Fristad
Elli Rhiannon Müller Osbourne 

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Trailer:

A film by Bernadett Tuza-Ritter. In Hungarian with German subtitles.

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Marish lives in the house­hold of a wealt­hy Hungarian fami­ly as a modern slave. The yoke that she has alre­a­dy been car­ry­ing for more than ten years has aged her fast. Is the­re a way out? An eye-ope­ning film about “white slavery” – in the midd­le of Europe.

Credits:
HU 2017, 89 Min., ungar. OmU,
Regie, Buch, Kamera, Schnitt: Bernadett Tuza-Ritter

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A film by Debra Granik. In English with German subtitles.

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Will (Ben Foster) and his teenage daugh­ter, Tom (Thomasin Harcourt McKenzie), have lived off the grid for years in the forests of Portland, Oregon. When their idyl­lic life is shat­te­red, both are put into social ser­vices. After clas­hing with their new sur­roun­dings, Will and Tom set off on a har­ro­wing jour­ney back to their wild homeland.

The film is direc­ted by Debra Granik from a script adapt­ed by Granik and Anne Rosellini and based on the novel My Abandonment by Peter Rock.

Credits:
US 2018, 109 Min., engl. OmU, 
Regie: Debra Granik
Kamera: Michael McDonough
Schnitt: Jane Rizzo
mit: Thomasin McKenzie, Ben Foster, Jeff Kober, Dale Dickey

Termine:

• noch kei­ne oder kei­ne mehr 

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A film by Ruth Beckermann. In German

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A lot of time has pas­sed sin­ce the scan­dal sur­roun­ding the Nazi past of for­mer UN Secretary General Kurt Waldheim made head­lines world­wi­de, not least becau­se he denied it. It all star­ted during the 1986 Austrian pre­si­den­ti­al cam­paign, when Waldheim was sup­po­sed to gain vic­to­ry and thus reach the pin­na­cle of his sto­ry­book post-war poli­ti­cal care­er. Based on smart­ly cho­sen inter­na­tio­nal TV archi­ve mate­ri­al, this docu­men­ta­ry essay recon­s­tructs how this hea­ted deba­te pro­gres­sed, all the way up to the second round of voting in June 1986. The posi­ti­ons of the various stake­hol­ders – excerp­ts from the press con­fe­ren­ces of the World Jewish Congress, deba­tes in the UN General Assembly, hea­rings in the US Congress as well as state­ments by the Austrian People’s Party and its can­di­da­te – are joi­n­ed by Ruth Beckermann’s sub­jec­ti­ve, ana­ly­ti­cal com­men­ta­ry in voice­over. She’s also the­re in the video foo­ta­ge she shot hers­elf, docu­ments of an oppo­si­tio­nal move­ment that show anti-Waldheim events and ver­bal dis­pu­tes with res­entful and anti-Semitic passers­by. Rabble-rou­sing, slan­der, media-bas­hing, and deny­ing facts – they all bro­ke new ground here. Yes, a lot of time has pas­sed, but it’s not over yet. (Berlinalestext)

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Credits:
Österreich 2018, Deutsch, Englisch, Französische OmU
93 Min.
Regie, Buch: Ruth Beckermann
Schnitt: Dieter Pichler
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