Category: archiv

A film by Claire Pijman. In English, French and Dutch with German subtitles.

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Robby Müller (1940–2018) was a lumi­na­ry, but not in the way this term is com­mon­ly used. He could easi­ly have play­ed one of the wise and taci­turn Indians in Jim Jarmusch’s Acid Western “Dead Man”. But that was impos­si­ble becau­se he was the DOP of this film, for which he con­ju­red his spe­cial, firm and almost pain­ter­ly, but also trans­pa­rent and shim­me­ring light onto the screen, as he did for around 70 other mas­ter­pie­ces of inter­na­tio­nal auteur cinema.

Over deca­des the cine­ma­to­grapher kept a video dia­ry which the film­ma­ker Claire Pijman alre­a­dy work­ed with for the gre­at exhi­bi­ti­on “Master of Light” at the Amsterdam EYE Film Museum and which she now uses as the cen­tral pool of images for her own film, “Living the Light”. Fellow cine­ma­to­grapher Agnès Godard says about a sequence bet­ween Dennis Hopper and Nicholas Ray from Wim Wenders’ “The American Friend” that mas­ter­ship for her is achie­ved only when the gran­deur of the cine­ma­to­gra­phy makes its­elf vanish from a sce­ne becau­se it beco­mes its natu­ral com­po­nent. Strange that one always feels that one can almost hear Robby Müller’s images. In “Living the Light”, this impres­si­on is under­li­ned by deli­ca­te­ly impro­vi­sed sound­scapes by Jim Jarmusch and Carter Logan.

Ralph Eue

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NL DE 2018 86 Min. OmU (Engl., Niederl., Franz. mit deut­schen Untertiteln)
Regie : Claire Pijman
Kamera : Robby Muller, Claire Pijman 
Schnitt: Katharina Wartena
Music: Squrl (Jim Jarmusch and Carter Logan)

offi­zi­el­le Webseite (engl.) livingthelight.nl

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Living the Light – die Bilderwelten des Robby Müller / Trailer from Chromosom Film on Vimeo.

Ein Film von Bernhard Sallmann.

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Mit Havelland Fontane schließt Bernhard Sallmann sei­ne 2016 begon­ne­ne vier­tei­li­ge Serie zu Theodor Fontanes (1819−1898) Reisereportagen „Wanderungen durch die Mark Brandenburg“ ab. Während die ers­ten drei Filme Erkundungen des länd­li­chen Raums sind, ist in Havelland Fontane auch die Verschmelzung einer Flusslandschaft mit dem Großraum Berlin-Potsdam ein zen­tra­les Thema. Fontane legt die Grundlagen der Entstehung der Mark frei und schil­dert das Ringen der natur­re­li­giö­sen wen­di­schen Kultur mit der aus dem Westen andrän­gen­den christ­li­chen im 12. Jahrhundert. Er schil­dert dabei an vie-len Beispielen die Austauschverhältnisse der Mark mit der rasch wach­sen­den Großstadt. In den gemäl­de­haf­ten und lang ver­wei­len­den Tableaus ent­steht ein Resonanzraum, der Zeiten, Orte und ver­blüf­fen­de Geschichten amalgamiert.

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DE 2019, 109 Min., 
Regie, Kamera: Bernhard Sallmann

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A film by Karim Aïnouz. Portuguese with German subtitles.-

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Rio de Janeiro, 1950. Eurídice, 18, and Guida, 20, are two inse­pa­ra­ble sis­ters living at home with their con­ser­va­ti­ve par­ents. Although immer­sed in a tra­di­tio­nal life, each one nou­ris­hes a dream: Eurídice of beco­ming a renow­ned pia­nist, Guida of fin­ding true love. In a dra­ma­tic turn, they are sepa­ra­ted by their father and forced to live apart. They take con­trol of their sepa­ra­te desti­nies, while never giving up hope of fin­ding each other. Adapted from a novel, Karim Aïnouz’s film is an astu­te anti-racist melo­dra­ma that reve­als the mecha­nisms of patri­ar­chal socie­ty. Behind the his­to­ric back­drop lies the dream of a Brazil based on jus­ti­ce, equa­li­ty, and diversity.

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A Vida Invisível De Eurídice Gusmão
BR/DE 2019, 139 Min., por­tu­gi­schi­sche OmU
Regie: Karim Aïnouz
Kamera: Hélène Louvart
Schnitt: Heike Parplies
mit:
Fernanda Montenegro
Carol Duarte
António Fonseca
Gregório Duvivier
Júlia Stockler

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A film by Sabu. In Japanese with German subtitles.

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Hiroshi (Sho Aoyagi), Takeru (Keita Machida) and Tetsuo (Nobuyuki Suzuki) all live in the same city. Hiroshi is an unpo­pu­lar idol sin­ger and he feels a void in his life. He is pla­ced under con­fi­ne­ment by his fan Masako. Takeru belie­ves that a girl returns to con­scious­ness. Tetsuo deci­des to take reven­ge on a yaku­za who sent him to prison.

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JP 2018, 90 Min., jap. OmU
Regie: Sabu
Buch: Sabu

mit:Sho Aoyagi, Keita Machida, Nobuyuki Suzuki

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A film by Paul Schrader.

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The film sets in on November 25, 1970, the last day in Mishima’s life. He is shown finis­hing a manu­script. Then, he puts on a uni­form he desi­gned for hims­elf and meets with four of his most loy­al fol­lo­wers from his pri­va­te army.

In flash­backs high­light­ing epi­so­des from his past life, the view­er sees Mishima’s pro­gres­si­on from a sick­ly young boy to one of Japan’s most acclai­med wri­ters of the post-war era (who in adult­hood trains hims­elf into the acme of mus­cu­lar disci­pli­ne, owing to a mor­bid and mili­ta­ristic obses­si­on with mas­cu­li­ni­ty and phy­si­cal cul­tu­re). His loathing for the mate­ria­lism of modern Japan has him turn towards an extre­mist tra­di­tio­na­lism. He sets up his own pri­va­te army and pro­claims the rein­sta­ting of the emper­or as head of state.

The bio­gra­phi­cal sec­tions are inter­wo­ven with short dra­ma­tiza­ti­ons of three of Mishima’s novels: In The Temple of the Golden Pavilion, a stut­te­ring aspi­rant sets fire to the famous Zen Buddhist temp­le becau­se he feels infe­ri­or at the sight of its beau­ty. Kyoko’s House depicts the sado­ma­so­chi­stic (and ulti­m­ate­ly fatal) rela­ti­onship bet­ween a midd­le-aged woman and her young lover, who is in her finan­cial debt. In Runaway Horses, a group of young fana­tic natio­na­lists fails to over­throw the govern­ment, with its lea­der sub­se­quent­ly com­mit­ting sui­ci­de. Dramatizations, frame sto­ry, and flash­backs are seg­men­ted into the four chap­ters of the fil­m’s title, named Beauty, Art, Action, and Harmony of Pen and Sword.

The film cul­mi­na­tes in Mishima and his fol­lo­wers taking hos­ta­ge a General of the Japan Self-Defense Forces. He addres­ses the gar­ri­son’s sol­diers, asking them to join him in his strugg­le to rein­sta­te the Emperor as the nati­on’s sove­reign. His speech is lar­ge­ly igno­red and ridi­cu­led. Mishima then returns to the General’s office and com­mits seppuku.

(wiki­pe­dia)

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JP/US 1985, 121 Min., Regie: Paul Schrader, mit: Ken Ogata, Masayuki Shionoya, Hiroshi Mikami, Junya Fukuda

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Wir freu­en uns sehr, die­ses Jahr Partnerkino der fran­zö­si­schen Filmwoche Berlin zu sein.

In unse­rem aus­ge­such­tem Programm fin­den sich bekann­te Namen wie Agnes Vardas, deren letz­ten Film und Berlinale-Beitrag VARDA PAR AGNÈS wir zei­gen (Sa., 20:00), oder der Eröffnungsfilm von Venedig von Cannes-Gewinner Kore-Eda, LA VÉRITÉ, der erst­mals außer­halb Japans dreh­te, dafür mit Catherine Deneuve und Juliette Binoche (Di., 3.12., 20:00 Uhr). Auch Catherine Corsini ist kei­ne Unbekannte, dies­mal setzt sie mit UN AMOUR IMPOSSIBLE (So., 1.12., 20:15) einen Bestseller in Szene. Ihre Hauptdarstellerin Virginie Efira hat bei uns am Sonntag ein Doppel: in SIBYL, Justine Triets Wettbewerbsbeitrag von Cannes, spielt sie eine Autorin und Psychotherapeutin.

Besuch bekom­men wir von zwei recht neu­en Gesichtern in der Filmwelt: Claire Burger (Party Girl) stellt C’EST ÇA L’AMOUR, eine Scheidungsgeschichte mit Bouli Lanners vor (29.12., 20:00), und Stéphane Batut sei­ne Geist-Geschichte VIF-ARGENT / DER FLÜSSIGE SPIEGEL, der in Cannes in der span­nen­den Nebenreihe ACID sei­ne Premiere hat­te (2.12. 20:00)

Eröffnet wird „unse­re“ Filmwoche mit dem Dokumentarfilm über Leidenschaft für Klänge und Geräusche, L’ESPRIT DES LIEUX (28.12., 20:00), abschlie­ßen wer­den wir mit dem neus­ten Film der mit ihren Filmen bei uns gern gese­he­nen Mia Hansen-Løve (Un amour de jeu­nesse, L’avenir), MAYA, der einem Fotoreporter, der gera­de aus Geiselhaft befreit wur­de, nach Goa folgt (4.12. 20:00). Alle Filme lau­fen in der franz. Originalfassung mit deut­schen oder eng­li­chen Untertiteln.

Einige Werke haben 2020 regu­lä­re Starts, u.a. VARDA PAR AGNÈS, LA VÉRITÉ, VIF-ARGENT, SIBYL, und auch der Eröffnungsfilm LES MISERABLES (unter dem dt.Titel DIE WÜTENDEN) wird bei uns im Januar zu sehen sein.

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A film by Francesco Bruni. In Itlaian with German subtitles.

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A young man named Alessandro begrud­gin­gly accepts a job as a com­pa­n­ion for Giorgio, an elder­ly poet with Alzheimer’s. As they ban­ter during their dai­ly walks, they slow­ly pie­ce tog­e­ther Giorgio’s long-buried memo­ries, reve­al­ing clues to a hid­den treasure.

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Tutto quello che vuoi
Italien 2017, 106 Min., ital. OmU
Regie: Francesco Bruni
Kamera: Arnaldo Catinari
Schnitt: Cecilia Zanuso 
mit: Andrea Carpenzano, Giuliano Montaldo, Donatella Finocchiaro

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A film by Markus Schleinzer.  In French and German with German subtitles.

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In the ear­ly 18th cen­tu­ry, a group of young slaves is brought to Europe. Among them is a 10-year-old boy whom a mar­chio­ness sel­ects to be an object of stu­dy. Given the name Angelo, he recei­ves a com­pre­hen­si­ve edu­ca­ti­on in lan­guages and music and is pas­sed around from Messina to Vienna as an exo­tic but Europeanized valet. Only Magdalena regards him as more than a deco­ra­ti­ve exhi­bi­ti­on pie­ce. Following his high­ly acclai­med fea­ture-film debut MICHAEL (2011), Austrian direc­tor Markus Schleinzer traces the true sto­ry of Angelo Soliman in well-com­po­sed tableaux vivants. This peri­od film was shot in the clas­sic 4:3 aspect ratio, cor­re­spon­ding to Angelo’s nar­ro­wed per­spec­ti­ve of being put on dis­play. The results are powerful imagery and an evo­ca­ti­ve film that exami­nes the exces­ses of colo­nia­lism both in their his­to­ri­cal con­text and in the pre­sent day.

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AT/LU 2018, 111 Min., fran­zö­sisch-deut­sche OmU-Fassung
Regie: Markus Schleinzer
Kamera: Gerald Kerkletz
Schnitt: Pia Dumont
mit: Makita Samba, Alba Rohrwacher, Larisa Faber, Kenny Nzogang, Lukas Miko

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A film by Florian Koerner von Gustorf. In German with English subtitles.

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Paul and Astrid want to spend a roman­tic weekend in Hungary, but when Astrid reco­gni­zes one of the other hotel guests as her child­hood swee­the­art, the couple‘s trip turns into a trip to the past.

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DE 2019, 90 Min.,
Regie: Florian Koerner von Gustorf
Kamera: Reinhold Vorschneider
Schnitt: Mona Bräuer
mit: Christiane Paul, Ronald Zehrfeld, Sebastian Hülk

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A film by Noah Baumbach. In English with German subtitles.

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 Charlie (Adam Driver) is a play­w­right who wants to stay in New York. Nicole (Scarlett Johansson) is an actress who has been given a desi­ra­ble tele­vi­si­on role and has the­r­e­fo­re moved to Los Angeles. The distance bet­ween the two is tearing their alre­a­dy ten­se rela­ti­onship apart. The film goes back and forth through time, show­ing how Charlie and Nicole fell in love and built a life tog­e­ther along­side a chro­nic­le of their marital dismantling.

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USA 2019, 134 Min., engl. OmU
Regie: Noah Baumbach
Musik: Randy Newman
Kamera: Robbie Ryan
Schnitt: Jennifer Lame
mit: Scarlett Johansson, Adam Driver, Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty

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