Category: archiv

A film by Scandar Copti. In Arabic and Hebrew with German subtitles.

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A midd­le-class Palestinian fami­ly in Haifa sees life spi­ral out of con­trol under the oppres­si­ve rea­li­ty of con­tem­po­ra­ry Israeli society.

The daugh­ter, Fifi, is stu­dy­ing in Jerusalem and gets into a car acci­dent; the son, Toufic, is invol­ved in secret roman­tic liai­sons and must con­t­end with an unwan­ted pregnan­cy; and the father is embroi­led in what could amount to insu­rance fraud. 

Oscar nomi­nee Scandar Copti (Ajami, 2009) pres­ents a grip­ping fami­ly dra­ma as his second fea­ture film. Led by an ensem­ble of non-pro­fes­sio­nal actors, it inter­wea­ves the sto­ries of mul­ti­ple cha­rac­ters who­se fates are unde­ni­ably – and res­entful­ly – inter­lin­ked. The cha­rac­ters in this mas­terful­ly writ­ten screen­play, groun­ded in inti­ma­te por­tra­yals of moral rela­ti­vism, walk a fine line bet­ween con­ce­ding to and resis­ting the sta­tus quo of Israeli sta­te vio­lence. The film pre­mie­red at the Venice Film Festival in 2024 and won the Horizons Award for Best Screenplay.

Credits:

PS/DE/FR/IT/QT 2025, 123 Min., Arabisch, Hebräisch OmU
Regie & Schnitt: Scandar Copti
Kamera: Tim Kuhn
mit: Manar Shehab, Wafaa Aoun, Meirav Memorsky, Toufic Danial

Trailer:

nach oben

A film by Marcin Wierzchowski. In various lan­guages with German subtitles.

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The film tells the sto­ry of the 2020 racist attack in the city of Hanau in the German sta­te of Hesse from the per­spec­ti­ve of the bere­a­ved rela­ti­ves and the sur­vi­vors. Within the space of just a few minu­tes, the per­pe­tra­tor shot nine young peo­p­le dead becau­se he did not con­sider them to be German. What are the direct and long-term con­se­quen­ces of such an attack on peo­p­le and their city? Director Marcin Wierzchowski accom­pa­nied the prot­ago­nists for four years as they faced their grief and stri­ved to come to terms with the loss of a loved one. But the film also reve­als their strugg­le for reco­gni­ti­on and a sen­se of belon­ging in the coun­try they call home. The rela­ti­ves feel aban­do­ned by the aut­ho­ri­ties and poli­ti­ci­ans ali­ke becau­se, despi­te many words of sym­pa­thy, they them­sel­ves are left to unco­ver the cir­cum­s­tances of the crime. In the pro­cess, they encoun­ter the cold bureau­cra­cy of a sys­tem that is woeful­ly unpre­pared for such an attack – even though right-wing ter­ror is a tra­gi­cal­ly com­mon­place part of German history.

Credits:

DE 2025, 132 Min., Deutsch, Rumänisch, Türkisch, Englisch OmU
Regie: Marcin Wierzchowski
Schnitt: Stefan Oliveira-Pita
Kamera: Marcin Wierzchowski, Peter Peiker

Trailer:

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Sorry, this ent­ry is only available in Deutsch.

Vom 10. –  17. September fin­det die­ses Jahr zum 20. Mal das größ­te pol­ni­sche Filmfestival außer­halb Polens statt (mehr, Katalog). Im fsk zei­gen wir alle sie­ben Wettbewerbsbeiträge und zwei Specials:

• vorbei 

A film by Radu Jude. In Romanian, Hungarian and German with German subtitles.

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Cluj, Transylvania. After being dri­ven from his shel­ter in a house cel­lar, a home­l­ess man com­mits sui­ci­de. Orsolya, the bai­liff who car­ri­ed out the evic­tion, is impel­led to make various attempts to address her fee­lings of guilt. Using a mix­tu­re of dra­ma and come­dy, topics as diver­se as the housing cri­sis, post-socia­list eco­no­mics, natio­na­lism and the power of lan­guage to main­tain social sta­tus are dis­sec­ted with a sharp, absur­dist scal­pel, in a movie-lite­ra­te nar­ra­ti­ve that plays part­ly as a homage to Rossellini’s Europa ’51 – not least in the mode­s­ty of this inde­pen­dent, low-bud­get production’s means. But while in Rossellini’s film a woman’s cri­sis of con­sci­ence leads to meaningful acti­vi­ty, here the prot­ago­nist facing the dilem­ma is unable to find any­bo­dy to under­stand her and beco­mes incre­asing­ly despe­ra­te for exter­nal reassu­rance and vali­da­ti­on, in a man­ner that would be easy to con­demn if Orsolya’s moral rela­ti­vism were not such an uncom­for­ta­b­ly accu­ra­te reflec­tion of a modern-day malai­se from which few of us are whol­ly immune.

Credits:

RO 2025, 109 Min., Rumänisch, Ungarisch, Deutsch OmU
Regie: Radu Jude
Schnitt: Cătălin Cristuțiu
Kamera: Marius Panduru
mit: Eszter Tompa, Gabriel Spahiu, Adonis Tanța, Oana Mardare, Șerban Pavlu, Annamária Biluska, Ilinca Manolache

Trailer:

Im Kino mit deut­schen Untertiteln.

nach oben

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

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On a weekend trip to the coun­try­si­de, Laura mira­cu­lous­ly sur­vi­ves a car crash. Physically unhurt but deep­ly shaken, she is taken in by a local woman who wit­nessed the acci­dent and now cares for Laura with mother­ly devo­ti­on. When her hus­band and adult son also give up their initi­al resis­tance to Laura’s pre­sence, the four of them slow­ly build up some fami­ly-like rou­ti­ne. But soon they can no lon­ger igno­re their past…

Credits:

DE 2025, 86 Min., deut­sche OmeU
Regie: Christian Petzold
Schnitt:  Bettina Böhler
Kamera: Hans Fromm
mit: Paula Beer, Barbara Auer, Matthias Brandt, Enno Trebs

Trailer:

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A film by Martina Priessner. In German and Turkish with German and Turkish subtitles.

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In November 1992, a racist arson attack in Mölln shat­te­red the lives of İbrahim Arslan and his fami­ly. At just seven years old, İbrahim sur­vi­ved, but he lost his sis­ter, his cou­sin and his grand­mo­ther. In the after­math of the attacks, the city recei­ved hundreds of let­ters of soli­da­ri­ty which were igno­red for near­ly three deca­des. Woven into İbrahim’s poignant jour­ney of dis­co­very and his encoun­ters with three let­ter wri­ters, the­se redis­co­ver­ed let­ters form a visu­al and emo­tio­nal bridge bet­ween past and pre­sent. The film fol­lows İbrahim and his siblings, pain­ting a com­plex por­trait of the las­ting trau­ma that con­ti­nues to affect them to this day. While İbrahim has found a way to cope by fight­ing against racism and advo­ca­ting for a remem­brance cul­tu­re cent­red on the vic­tims’ per­spec­ti­ves, his brot­her Namik is still at the begin­ning of his jour­ney to come to terms with the trau­ma­tic expe­ri­en­ces.
The film not only ampli­fies the per­spec­ti­ves of the vic­tims and sur­vi­vors but also unco­vers the vibrant soli­da­ri­ty that once exis­ted – a soli­da­ri­ty of which the vic­tims and sur­vi­vors were pre­vious­ly una­wa­re. It offers a new per­spec­ti­ve on remem­brance – one that takes the voices of sur­vi­vors and their expe­ri­en­ces serious­ly and pro­vi­des them with the space and reco­gni­ti­on that they deserve.

Credits:

DE 2025, 96 Min., deutsch, tür­ki­sche Originalfassung mit deut­schen und tür­ki­schen Untertiteln
Regie: Martina Priessner 
Schnitt: Maja Tennstedt
Kamera: Ayşe Alacakaptan, Julia Geiß

Trailer:

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A film by Juan Francisco Olea. In Spanish with German subtitles.

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Set in the extinct world of arti­san mining in North Chile, this neo wes­tern cen­ters the strug­gles and empower­ment of a young woman, fight­ing to keep the fami­ly busi­ness against patri­ar­chal struc­tures and the law of the jungle.

Credits:

CL/MX/UY/DE 2024, 83 Min., span. OmU
Regie: Juan Francisco Olea
Kamera: Sergio Armstrong
mit: Katalina Sánchez, Francisco Melo, Michael Silva

Trailer:

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A film by François Ozon. In French with German subtitles.

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Michelle, a model grand­mo­ther, is enjoy­ing peaceful reti­re­ment in a Burgundy vil­la­ge, clo­se to her best fri­end Marie-Claude. On All Saints‘ Day, her daugh­ter Valérie arri­ves to drop off her grand­son Lucas for the school holi­day week. But not­hing will go to plan.

Credits:

Quand vient l’au­t­om­ne
FR 2024, 102 Min., frz. OmU
Regie: François Ozon
Kamera: Jérôme Alméras
Schnitt: Anita Roth
mit: Hélène Vincent, Josiane Balasko, Ludivine Sagnier

Trailer:

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A film by Cédric Klapisch. In French with German subtitles.

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United by the unex­pec­ted inhe­ri­tance of a house in Normandy, four estran­ged cou­sins dis­co­ver their fami­ly histo­ry. While explo­ring the house, left untouch­ed sin­ce the 1940s, they excava­te the life of their ances­tor, Adèle Vermillard, a 20 year old woman who lived the­re in 1895. The end of the 19th cen­tu­ry saw the birth of both pho­to­gra­phy and the Impressionist move­ment, which pro­found­ly chan­ged pain­ting.
Through back-and-forth jour­neys bet­ween 1895 and 2025, they find in the relics of the past what will help them bet­ter envi­si­on their own future.

Credits:

La venue de l’a­ve­nir
FR 2024, 124 Min., fran­zö­si­sche OmU
Regie: Cédric Klapisch
Kamera: Alexis Kavyrchine
Schnitt: Anne-Sophie Bion
mit: Suzanne Lindon, Vincent Macaigne, Cécile de France, Paul Kircher, Julia Piaton, Vassili Schneider, Vincent Perez 

Trailer:

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A film by Maren-Kea Freese. In German.

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Former power plant worker Wilma, who sur­vi­ved two poli­ti­cal sys­tems, faces a fresh start. After living her enti­re life in the rural lig­ni­te mining area (Ex-GDR), she left her vil­la­ge in the late 1990s when her world crum­bled. Escaping to Vienna, she wants to rebuild her life. Old dreams of a bet­ter socie­ty resur­face, and she embraces them with rene­wed ener­gy, deter­mi­ned to crea­te new paths for herself.

Credits:

DE 2025, 112 Min.,
Regie: Maren-Kea Freese
Kamera: Michael Kotschi
Schnitt: Andrea Muñoz
Darsteller*innen: Fritzi Haberlandt, Thomas Gerber, Stephan Grossmann, Xenia Snagowski, Katrin Schwingel, Isabel Schosnig

Trailer:

nach oben