A film by Raymond Depardon.  In french with ger­man subtitles.

Every year in France, 92,000 peo­p­le are pla­ced under psych­ia­tric care wit­hout their con­sent. By law, the hos­pi­tal has 12 days to bring each pati­ent befo­re a judge. Based on medi­cal records and a doctor’s recom­men­da­ti­ons, a cru­cial decis­i­on has to be made – will the pati­ent stay or lea­ve? Granted access to the­se hea­rings for the first time, Raymond Depardon cap­tures the­se extra­or­di­na­ry encoun­ters bet­ween jus­ti­ce and psych­ia­try. “We film­ed 72 hea­rings and our enga­ge­ment was streng­the­ned by cont­act with trou­bled pati­ents who mana­ged to bear wit­ness with gre­at digni­ty and sen­si­ti­vi­ty. Above all the­se are peo­p­le who are suf­fe­ring; their words are valuable, nor mere­ly dis­tur­bed or ins­a­ne, but clear and stron­gand con­cer­ned with their future lives. 12 DAYS pres­ents ten of the­se pati­ents.” (Raymond Depardon)
70. Internationale Filmfestspiele von Cannes – Séances Spéciales

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Credits:
OT: 12 jours
F 2017, 87 Min., frz. OmU
Regie: Raymond Depardon
Kamera: Raymond Depardon
Schnitt: Simon Jacquet
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A film by Dominik Cooke. In eng­lish with ger­man subtitles.

In the ear­ly 1960s, a young cou­ple on their honey­moon strugg­le to phy­si­cal­ly con­nect in this sen­si­ti­ve adapt­a­ti­on of Ian McEwan’s acclai­med short novel.
As Florence (Saoirse Ronan, Brooklyn) and Edward (Billy Howle, Dunkirk) sett­le down for their first din­ner as a mar­ried cou­ple, a ner­vous ener­gy fills the air. But while it might appear the fled­gling hus­band and wife are suf­fe­ring from wed­ding night jit­ters, it beco­mes appa­rent that some­thing else is crea­ting the divi­de as the ine­vi­ta­bi­li­ty of phy­si­cal inti­ma­cy looms ever closer.
Gorgeously len­sed by Sean Bobbitt (12 Years a Slave) and impec­ca­bly adapt­ed for the screen by McEwan hims­elf, Dominic Cooke’s quiet­ly heart­brea­king debut is a work of subt­le res­traint, cap­tu­ring the intri­ca­ci­es of the source mate­ri­al with grace and delicacy.
Ronan shi­nes as the hesi­tant young bri­de, ably sup­port­ed by rising star Howle, both of whom express so much, even when their cha­rac­ters strugg­le to find the words. For a film in which many emo­ti­ons remain uns­po­ken, this melan­cho­lic love sto­ry speaks pro­found­ly about the fra­gi­li­ty of human rela­ti­onships and the des­truc­ti­ve natu­re of silence.

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Credits:
On Chesil Beach
England 2017, 110 Min., engl. OmU
Regie: Dominic Cooke
Kamera: Sean Bobitt
Schnitt: Nick Fenton
Darsteller: Saoirse Ronan, Billy Howle, Anne Marie-Duff, Adrian Scarborough, Emily Watson, Samuel West
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A film by Laura Bispuri. In ita­li­an with ger­man subtitles.

Ten-year-old Vittoria is gro­wing up in a Sardinian vil­la­ge untouch­ed by tou­rism. One day at a rodeo she meets the impe­tuous Angelica, who is com­ple­te­ly dif­fe­rent to her own caring mother Tina. Vittoria does not suspect that the two women are con­nec­ted by a secret. Tina has been visi­ting Angelica for a long time on the run-down farm whe­re Angelica lives a hap­py-go-lucky life with some old hor­ses and a faithful dog. Tina is not at all hap­py about Angelica and her daugh­ter Vittoria get­ting to know each other. In debt, Angelica deci­des to move to the main­land. Relieved, Tina offers her finan­cial sup­port, but she can­not pre­vent fur­ther encoun­ters bet­ween the two. Captivated by this fearless, inde­pen­dent woman, Vittoria beg­ins redis­co­ve­ring the island with her.
As in her direc­ting debut, Vergine giura­ta, Laura Bispuri once again fol­lows her prot­ago­nist as she encoun­ters, imi­ta­tes and ques­ti­ons seve­ral role models until she gra­du­al­ly dis­co­vers who she is. The warm light of a Sardinian sum­mer accom­pa­nies Vittoria on her tur­bu­lent journey.
Berlinale 2018: Compwetition
 

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A Film by Agnes Varda and JR.  In french with ger­man subtitles.

Agnes Varda and JR have things in com­mon: their pas­si­on for images in gene­ral and more par­ti­cu­lar­ly ques­ti­on­ning the places whe­re they are show­ed, how they are shared, exposed.
Agnès cho­se cinema.
JR cho­se to crea­te open-air pho­to­gra­phic galleries.
When Agnès and JR met in 2015, they imme­dia­te­ly wan­ted to work tog­e­ther, shoot a film in France, far from the cities.
Random encoun­ters or pre­pared pro­jects, they will go towards the others and get them to fol­low them on their trip with JR’s pho­to­gra­phic truck.
The film is also about their fri­end­ship that grows during the shoo­ting, bet­ween sur­pri­ses and mali­ce, laug­hing of their differences.

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A film by Hans Block & Moritz Riesewieck. 

Dive into a secret, third-world shadow indus­try of online con­tent mode­ra­ti­on. Here we meet five “digi­tal sca­ven­gers,” a handful of thou­sands of peo­p­le out­sour­ced from Silicon Valley who­se job is to dele­te “inap­pro­pria­te” con­tent off of the inter­net. In a par­al­lel strugg­le, we meet peo­p­le around the glo­be who­se lives are dra­ma­ti­cal­ly affec­ted by online cen­sor­ship. A typi­cal “clea­ner” must obser­ve and rate thou­sands of inten­se images every day, from war zone pho­to­gra­phy to por­no­gra­phy, lea­ding to las­ting psy­cho­lo­gi­cal impacts. Yet under­neath their work lies pro­found ques­ti­ons around what makes an image art or pro­pa­gan­da and what defi­nes journalism.

The Cleaners reve­als the bit­ter rea­li­ty that social media is as much a tool for expres­si­on as it is a plat­form for radi­cal­i­zed social and poli­ti­cal opi­ni­ons, the impacts of which are still unknown. Debut direc­tors Hans Block and Moritz Riesewieck unpack an urgent con­ver­sa­ti­on sur­roun­ding Silicon Valley’s con­trol over our per­cep­ti­on of free speech that we must all grapp­le with as it threa­tens to unra­vel the fabric of our socie­ty: both online and IRL.

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Ein Film von Thomas Frickel.

Shortly befo­re Christmas 1991 a his­to­ri­cal DC‑3 cra­s­hes near Heidelberg with artist Martin Kirchberger and his team on board. Kirchberger‘s fri­end, film­ma­ker Thomas Frickel, exami­nes the cir­cum­s­tances of the tra­ge­dy and Kirchberger‘s short career.

Shortly befo­re Christmas 1991 a his­to­ri­cal DC‑3 cra­s­hes near Heidelberg with artist Martin Kirchberger and his team on board. Kirchberger‘s fri­end, film­ma­ker Thomas Frickel, exami­nes the cir­cum­s­tances of the tra­ge­dy and Kirchberger‘s short career.

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A film by Stéphane Brizé.  In french with ger­man subtitles.

Based on a novel by Guy de Maupassant and sha­ring the­mes (male tre­a­chery, suf­fe­ring) as well as a title with Mikio Naruse’s 1963 dra­ma, Stéphane Brizé’s gor­ge­ous peri­od pie­ce explo­res the bleak lot of an aris­to­cra­tic hei­ress in 19th-cen­tu­ry France. Shot in boxy 1.33:1 ratio, and kissed by fli­cke­ring cand­le­light, this a world so per­sua­si­ve­ly rea­li­sed that you can almost smell the damp that rises, along with the debt. We fol­low Jeanne (Judith Chemla) from the clear-eyed hop­eful­ness of youth to late midd­le age; it’s a per­for­mance that is so com­pel­ling that we for­gi­ve the film its fair­ly dis­pi­ri­ting tra­jec­to­ry and por­tra­y­al of a woman who often seems litt­le more than a hel­p­less chat­tel. (The Guardian)

Credits:
F/B 2016, 119 Min., franz. OmU
Regie: Stéphane Brizé, Kamera: Antoine Héberlé
Schnitt: Anne Klotz
mit:Judith Chemla, Jean-Pierre Darroussin, Yolande Moreau, Swann Arlaud

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Ein Film von Sobo Swobodnik.

Therapie für Gangster zeigt das Leben und die Wirklichkeit im Maßregelvollzug aus der Sicht sucht­kran­ker Straftäter , fern­ab der Gesellschaft mit ihren eige­nen Regeln und Gesetzen. Zwischen dem all­täg­li­chen Kampf gegen den Suchtdruck, die eige­ne Schuld und die Einsamkeit betrach­tet der Film dabei die Menschen hin­ter dem Profil des Täters. Menschen, die ver­su­chen, die letz­te Chance ihres miss­glück­ten Lebens wahr­zu­neh­men, anstatt in den aus­sichts­lo­sen Abgründen der Gefängnisse erneut hoff­nungs­los zu verschwinden.

Ein Film, der sen­si­ble Einblicke in eine für Außenstehende nor­ma­ler­wei­se ver­schlos­se­ne Welt preis­gibt und Menschen zeigt, die in die­ser Form sel­ten von der Gesellschaft wahr­ge­nom­men werden.

Credits:
Deutschland 2017, 86 Min.
Regie: Sobo Swobodnik
Buch: Sobo Swobodnik, Eckhard Geitz
Kamera: Sobo Swobodnik
Schnitt: Manuel Stettner

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A film by Andreas Wolff. In ara­bic with ger­man subtitles.

D, Saudi-Arabien 2017 89 Min. OmU – Arabisch mit dt. Untertiteln
Regie: Stefanie Brockhaus, Andreas Wolff
Kamera: Tobias Tempel, Stefanie Brockhaus
Schnitt: Hansjörg Weissbrich, Anja Pohl

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A film by Alice Agneskirchner. In german.

Where do we as humans find our­sel­ves on the sca­le: are we nature’s – our world’s – pro­tec­tors or its des­troy­ers? In expan­si­ve film thea­ter images we will enter the wild ani­mals’ cos­mos– not in Africa, but here at home. In one of the most beau­tiful land­scapes in Europe – in the German, Austrian, French and Swiss alps – we will pose this ques­ti­on to huma­ni­ty on the basis of the con­di­ti­on of the forests, their owners, the wild ani­mals, their hun­ters and the far­mers in the cycle of the seasons.

The ques­ti­on “Who Owns Nature?” imme­dia­te­ly leads to the next ques­ti­on: what is natu­re? Almost all of us live in cities. What most of us under­stand to be natu­re is: the plants, the city park or what we see when we tra­vel with a train or car from one city to the next. But is the green mea­dow natu­re? Is the forest, which flies by us one tree trunk at a time, natural?
So who do the deer, stags, cha­mois, wild boars, hares, foxes, lyn­xes, bears or wol­ves belong to? They have no owners. They belong to them­sel­ves; they are a part of natu­re. However, to be pre­cise, natu­re no lon­ger exists in Europe. There are “green” sur­faces that are used and plan­ted agri­cul­tu­ral­ly. The wild ani­mals share their habi­tats with us. Who deter­mi­nes how we live with them?

In opti­cal­ly lavish images, the film takes us into the uni­que world of the wild ani­mals, archaic land­scapes, sea­sons – and the hun­ters. In the heart of our wes­tern civi­liza­ti­on, we enter a world that doesn’t seem to fit to our con­tem­po­ra­ry age. Mountain goats, bel­lo­wing stags, a pack of wol­ves, forest ran­gers, far­mers, wild­life bio­lo­gists, hun­ting oppon­ents and hun­ters: they are all prot­ago­nists in a dra­ma­tic alpi­ne play.

Credits:
Deutschland 2018, 96 Min.
Buch und Regie: Alice Agneskirchner
Kamera: Johannes Imdahl, Owen Prümm
Montage: André Hammesfahr
Kommentar: Patrick Winczewski
Musik: Gert Wilden Jr.

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