A film by Wes Anderson. In eng­lish with ger­man sub­tit­les (and some japa­ne­se that no dog can understand).

Isle of Dogs tells the sto­ry of Atari Kobayashi, 12-year-old ward to cor­rupt Mayor Kobayashi. When, by Executive Decree, all the cani­ne pets of Megasaki City are exi­led to a vast gar­ba­ge-dump cal­led Trash Island, Atari sets off alo­ne in a minia­tu­re Junior Turbo Prop and flies across the river in search of his body­guard-dog, Spots. There, with the assis­tance of a pack of new­ly-found mon­grel fri­ends, he beg­ins an epic jour­ney that will deci­de the fate and future of the enti­re prefecture.
After Fantastic Mr. Fox, this new work marks Wes Anderson’s second ani­ma­ti­on film. Once again, the direc­tor has crea­ted a meti­cu­lous­ly detail­ed uni­ver­se that func­tions accor­ding to its own uni­que rea­li­ties and laws. But even when wicked vil­lains appear and bru­t­ally hunt down the four-leg­ged fri­ends, the film remains essen­ti­al­ly a fable. Miraculously, we are able to under­stand the ani­mals, whilst almost ever­y­thing the humans say is trans­la­ted for us. Atari and his quir­ky cani­ne com­pa­n­ions King, Duke, Rex, Boss and Chief con­front us with tho­se most quint­essen­ti­al of ques­ti­ons that con­cern us all, name­ly: ‘Who are we? And who do we want to be?’

Credits
USA 2018, 101 Min., engl. japan. OmU
Regie & Buch: Wes Anderson
Kamera: Tristan Oliver
Animation: Mark Waring
Montage: Andrew Weisblum

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A film by Mijke de Jong.

When Dutch-born Muslim girl Laila (18) feels less and less at home in the Neterlands, she – slow­ly but sure­ly – beco­mes invol­ved with a group of extre­mists and radi­cal­i­zes. She encoun­ters a world that nur­tures her ide­as ini­tal­ly, but final­ly con­fronts her with an impos­si­ble choice.

Nl/B/D 2016, 96 Min., nl., engl., dt. OmU
Regie: Mijke de Jong
Buch: Jan Eilander & Mijke de Jong
Kamera: Danny Elsen
Schnitt: Dorit Linken
Darsteller: Nore El Koussour, Ilias Addab, Hassan Akkouch, Yasemin Cetinkaya, Husam Chadat, Karl Ferlin

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A film by Hussein Hassan.

Reşeba – The Dark Wind is the first fea­ture nar­ra­ti­ve deal­ing with the geno­ci­de against the Yazidi peo­p­le living in the Kurdish Shingal regi­on through the so cal­led Islamic State.

The young Yezidi love cou­ple Reko and Pero gets sepa­ra­ted when the Islamic State attacks their vil­la­ge in the Shingal regi­on of Iraqi Kurdistan. The ter­ro­rists mur­der many vil­la­gers and sell the beau­tiful Pero on a slave mar­ket. But Reko sear­ches for his fian­cée and finds her in Syria. They find shel­ter in a refu­gee camp but Pero is deep­ly trau­ma­ti­zed and the future of their love is uncertain.

Irak, Deutschland, Syrien, Katar 2016, 92 Min., OmU
Regie: Hussein Hassan
Drehbuch: Mehmet Aktaş, Hussein Hassan
Darsteller: Rekish Shahbaz, Dimen Zandi, Maryam Boobani, Nalin Kobani, Helket Idris

A film by Gerd Kroske.

The anti-psych­ia­tric Socialist Patients‘ Collective (SPK) was foun­ded in Heidelberg in 1970 and attri­bu­ted indi­vi­du­al suf­fe­ring to society’s capi­ta­list struc­tures. It began as a self-orga­nis­ed expe­ri­ment in group the­ra­py led by doc­tor Wolfgang Huber with psych­ia­tric pati­ents, fea­turing Hegel rea­dings and indi­vi­du­al agi­ta­ti­on, befo­re sub­se­quent­ly radi­cal­i­sing, which ended in cri­mi­nal pro­cee­dings against its mem­bers, some of whom went under­ground with the Red Army Faction. This film exami­nes a litt­le known chap­ter in West German histo­ry in impres­si­ve, unpre­ten­tious fashion. A pre­cise pic­tu­re of the social cli­ma­te lea­ding up to the German Autumn emer­ges from pains­ta­kin­gly rese­ar­ched docu­ments, such as records from the inte­ri­or minis­try and the uni­ver­si­ty, press pho­tos and TV reports, trips to Stammheim pri­son and to Italy, as well as from con­ver­sa­ti­ons with for­mer SPK – some­ti­mes RAF – mem­bers, lawy­ers and sta­te poli­ce. The skil­led inter­view tech­ni­ques pro­du­ce genui­ne encoun­ters with tho­se in front of the came­ra, as they look back on their lives and the SPK and dig out old papers, the ques­ti­on of their resis­tance han­ging in the air – all dif­fe­rent lay­ers of Kroske’s historiography.

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A film by Ivette Löcker. In German.

Just as I thought that I could final­ly put my fee­lings for my par­ents and my ori­g­ins to rest, my father deci­ded to lea­ve me his crumbling farm­house. This stone inhe­ri­tance is sup­po­sed to tie me again to the place whe­re I grew up. It is sup­po­sed to bring me clo­ser to my par­ents again. I have trou­ble breathing as I rea­li­se that my jour­ney to under­stand my fami­ly has only just started.

Credits:
Österreich 2017,  102 Min.
Regie und Buch: Ivette Löcker
Kamera: Frank Amann
Schnitt: Michael Palm

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A film by Christian Petzold.

The German tro­ops are just out­side Paris. Georg escapes to Marseille at the last moment. His lug­ga­ge con­ta­ins the lega­cy of a wri­ter named Weidel, who took his own life out of fear of per­se­cu­ti­on. This lega­cy com­pri­ses a manu­script, some let­ters and the Mexican Embassy’s assu­rance of a visa. Only tho­se who can pro­ve that they will lea­ve are allo­wed in this port town, and this means you need an ent­ry per­mit from a poten­ti­al host coun­try. Assuming the iden­ti­ty of Weidel, Georg tri­es to obtain one of the few scar­ce pas­sa­ges on a ship. Talks bet­ween refu­gees take place in the cor­ri­dors of his small hotel, the wai­ting rooms of con­su­la­tes, and the cafés and bars down at the har­bour. Georg befri­ends Driss, the son of his late com­ra­de Heinz, who died whilst try­ing to flee. But when he meets the mys­te­rious Marie, his plans chan­ge. Transit is based on Anna Seghers’ epony­mous novel which she wro­te in exi­le. The film is set in con­tem­po­ra­ry Marseille whe­re the­se cha­rac­ters from the past move around. And so, refu­gees from back then meet refu­gees from today, histo­ry meets the pre­sent, and all of their sto­ries com­bi­ne to crea­te one eter­nal tran­sit space.

Credits:
Deutschland 2017, 101 Min.
Regie: Christian Petzold
Buch: Christian Petzold, nach dem Roman von Anna Seghers
Kamera: Hans Fromm
Schnitt: Bettina Böhler
mit: Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman, Maryam Zaree, Barbara Auer, Matthias Brandt, Sebastian Hülk, Emilie de Preissac

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A film by Thorsten Trimpop.

FURUSATO 古里 reve­als the unu­su­al rela­ti­onship bet­ween a land­scape and its inha­bi­tants. Over the cour­se of a thousand years, the exu­berant natu­re of Japan’s eas­tern coast has beco­me inter­wo­ven in the lives of its peo­p­le. Here, the earth is sacred – but now, it is tain­ted with the invi­si­ble dan­ger of radia­ti­on. For tho­se who have deci­ded to stay, the rural sce­ne sur­roun­ding the cripp­led Fukushima Daiishi nuclear power plant remains the place they call home – their furu­sa­to, the first place they expe­ri­ence as child­ren and the last one they will see befo­re they die. A monu­men­tal por­trait of a woun­ded com­mu­ni­ty and an unspa­ring look at the human cost of pro­gress, the film illu­mi­na­tes the four years that fol­lo­wed the worst nuclear dis­as­ter of our time. Here, no one mea­su­res in half-lives. This is about eternity.

Credits:
Deutschland, USA 2016, 94 Min., japan. OmU
Regie: Thorsten Trimpop
Kamera: Thorsten Trimpop
Schnitt: Stefan Oliveira-Pita

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A film byn Lars Kollros and Alexandra Zaitseva. 

At 7. and 8. July 2017 the lea­ders of the EU and the 19 most deve­lo­ped and emer­ging eco­no­mies of the world met in the city of Hamburg/Germany. The Senator of the Interior of Hamburg, Andy Grote announ­ced the mee­ting as a “Festival of Democracy”. Over 30.000 poli­ce offi­cers whe­re in the city to pro­tect it. Up to 100.000 peo­p­le came to Hamburg to pro­test against it.
Lars Kollros and Alexandra Zaitseva accom­pa­nied the week of pro­tests with their cameras.

 
D 2017 90 Min.
Regie: Lars Kollros, Alexandra Zaitseva
Kamera: Lars Kollros, AlexandraZaitseva, Alex Uhlig, Esther Lang
 

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A Film by Niklas Schenck and Ronja von Wurmb-Seibel.

Kabul, December 11, 2014. During the pre­mie­re of a theat­re play about sui­ci­de bom­bings a 17 years old boy blows hims­elf up. Some in the audi­ence clap, becau­se at first they think the explo­si­on is part of a very rea­li­stic re-enact­ment. Only when panic spreads do they rea­li­ze what happened.
The docu­men­ta­ry film TRUE WARRIORS tells the sto­ry of the actors and the musi­ci­ans who were on stage that day. With their play, they wan­ted to make a point against the ter­ror and vio­lence that eats up their coun­try. Now they are para­ly­zed by fear. Ever get­ting on a stage again? Unimaginable! Becoming a famous musi­ci­an? Way too dangerous!
Only when vio­lence hits a second time, some of the artists deci­de to take a dif­fe­rent approach.They beco­me ever more radi­cal as artists. Not only do they go back on stage – they also play the most dar­ing pie­ce they ima­gi­nable, on the streets of Kabul, unprotected.
TRUE WARRIORS reminds us that if we real­ly want to defeat ter­ro­rism we need to offer more than fear and hat­red. One of the actors said after a scree­ning in Germany: „We need to move from a cul­tu­re of war to a cul­tu­re of peace – and who could lead the way but us artists?”.

D 2017„90 Min., Engl., Dari OmU,
R.: Niklas Schenck, Ronja von Wurmb-Seibel

A film by Martin Farkas. In german.

Hundreds of Demmin resi­dents kil­led them­sel­ves in 1945 due to their fear of the Russians. The topic could not be dis­cus­sed in the GDR, today it is used as pro­pa­gan­da by fascists.

Credits:
Deutschland 2017, 90 min
Regie: Martin Farkas
Drehbuch: Jens Stubenrauch, Petra Felber, Barbara Denz, Martin Farkas
Kamera: Roman Schauerte
Schnitt: Jörg Hauschild, Catrin Vogt
Musik: Mathis Nitschke

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