Category: archiv

A film by Wang Xiaoshuai. In Chinese (Mandarin) with German subititles.

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‘We’re wai­ting to grow old’. This sen­tence brief­ly sums up Yaoyun and his wife Liyun’s bit­ter rea­li­sa­ti­on about their lives. They were once a hap­py fami­ly – until their son drow­ned play­ing by a reser­voir. And so Yaojun and Liyun lea­ve their home and plun­ge into the big city, alt­hough nobo­dy knows them the­re and they can­not even under­stand the local dialect. Their adopted son Liu Xing does not offer them the com­fort they had hoped for eit­her. Defiantly rejec­ting his ‘for­eign’ par­ents, he one day dis­ap­pears altog­e­ther. The mar­ried cou­ple are repea­ted­ly enmes­hed in their memo­ries. Finally, they deci­de to return to the site of their lost hopes.
In this fami­ly saga span­ning three deca­des of Chinese histo­ry, the pri­va­te and the poli­ti­cal mer­ge and the indi­vi­du­al gets caught up in the gears of a socie­ty in the throes of con­stant chan­ge. Part melo­dra­ma, part cri­tique of the times, this film takes us from the country’s uphe­aval in the 1980s fol­lo­wing the Cultural Revolution to the pro­spe­ring tur­bo-capi­ta­lism of the pre­sent day. Told in swee­ping tableaux, it makes visi­ble the deep scars that lie beneath the sur­face of an osten­si­bly unbro­ken suc­cess story.

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Credits:

Di jiu tian chang
China 2019, 185 Min., chin. OmU
Regie: Wang Xiaoshuai
Kamera: Kim Hyun-seok
Schnitt: Lee Chatametikool
mit: Wang Jingchun, Yong Mei, Qi Xi, Wang Juan, Du Jiang

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When the Taliban puts a boun­ty on Afghan direc­tor Hassan Fazili’s head, he is forced to flee the coun­try with his wife and two young daugh­ters. Capturing the family’s jour­ney first­hand, Fazili docu­ments their har­ro­wing trek across num­e­rous bor­ders reve­al­ing the dan­ger and uncer­tain­ty facing refu­gees see­king asyl­um jux­ta­po­sed with the unbre­aka­ble love shared among­st the fami­ly on the run.

„There are many films about the cur­rent refu­gee cri­sis but I’ve not seen a docu­men­ta­ry quite as inti­ma­te as this one… Fazili and his wife are both film­ma­kers, so they have film­ma­kers’ eyes. They catch moments of true cine­ma­tic beau­ty, but the­se moments stand out as grace notes to an other­wi­se harsh existence.”
Elijah Davidson, Docs/Ology

„A valuable, first-hand refu­gees’ sto­ry… Full of social and poli­ti­cal urgen­cy… A family’s joint tes­tim­o­ny, heart­felt and heart­brea­king, par­ti­cu­lar yet haun­tingly representative.”
Caryn James, The Hollywood Reporter

A film by Lone Scherfig.In English with German subtitles.

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Clara arri­ves in win­try New York with her two sons on the back seat of her car. The jour­ney, which she has dis­gu­i­sed as an adven­ture for her children’s sake, is soon reve­a­led to be an escape from an abu­si­ve hus­band and father. He is a cop, and Clara is despera­te­ly try­ing to elude his attempts to pur­sue her. The three have litt­le more than their car, and when this is towed away, they are left pen­ni­less on the street. But the big cold city shows mer­cy: in their search for refu­ge, the fami­ly meets a sel­fless nur­se named Alice who arran­ges beds for them at an emer­gen­cy shel­ter. While ste­al­ing food at a Russian restau­rant cal­led ‘Winter Palace’, Clara meets an ex-con, Marc, who has been given the chan­ce to help the old eatery regain its for­mer glo­ry. The ‘Winter Palace’ soon beco­mes a place of unex­pec­ted encoun­ters bet­ween peo­p­le who are all under­go­ing some sort of cri­sis and whom fate has now brought tog­e­ther. With a keen eye for cha­rac­ter, Lone Scherfig explo­res human beha­viour in extre­me con­di­ti­ons. She depicts the harsh­ness of life in the urban jungle, but she also demons­tra­tes what can grow when stran­gers approach each other in fri­end­ship and with an open heart.

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DK/CA/SE/DE/FR 2019, 112 Min., engl. OmU
Regie, Buch: Lone Scherfig
Kamera: Sebastian Blenkov
Schnitt: Cam McLauchlin
mit: Zoe Kazan, Andrea Riseborough, Tahar Rahim, Caleb Landry Jones, Jay Baruchel, Bill Nighy

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A film by Mariko Minoguchi. In German with English subtitles.

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For Nora and Aron it is love at first sight when they encoun­ter each other on a rai­ny day whilst taking the under­ground. It was a com­ple­te coin­ci­dence, Nora says. Aron dis­agrees: it was pre­de­ter­mi­ned. But the young cou­ple then get caught up in a vio­lent bank rob­be­ry. Aron is shot by the mas­ked gun­man and dies in Nora’s arms. For Nora, time stands still. She numbs her pain, spen­ding the night with a stran­ger – Natan. He pro­vi­des Nora with sta­bi­li­ty. She has the stran­ge fee­ling that she knows him alre­a­dy, but does not yet know what real­ly con­nects them…

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DE 2019, 111 Min., OmeU
Regie: Mariko Minoguchi
Kamera: Julian Krubasik
Schnitt: Andreas Menn,
mit: Saskia Rosendahl, Julius Feldmeier, Edin Hasanovic, Jeanette Hain, Lilly Forgach

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Ein Film von Nils Olger. .

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Von sei­ner Großmutter erhält Nils Olger nach dem Tod des Großvaters eine Kassette. In ihr lie­gen Rollen mit Fotonegativen. »Da hast du nun alle unse­re Geheimnisse«, sagt sie. Die Bilder las­sen ahnen, wor­an der Großvater als SS-Angehöriger im zwei­ten Weltkrieg betei­ligt war. Olger folgt der Spur der Negative und begibt sich an ihre Entstehungsorte. Nach Österreich, Ungarn und Italien. Es ist der Versuch des Nachgeborenen, sei­ne Erinnerungen an den Großvater um die von ihm ver­schwie­ge­nen Elemente zu ergän­zen und mit­hil­fe der Negative ein voll­stän­di­ge­res Bild ent­ste­hen zu lassen.

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AU/DE 2018, 102 Min., Deutsch, Italienisch, Ungarisch, Rumänisch OmU
Regie: Nils Olger
Drehbuch: Nils Olger
Kamera: Nils Olger, Juri Schaden, Thomas Marschall
Schnitt: Nils Olger

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Eine eiser­ne Kassette – offi­zi­el­ler Trailer from bit­ters­weet GmbH on Vimeo.

A Film by Sally Potter fol­lo­wed by a Performance CONFESSIONS OF AN ACTRESS by Susanne Sachsse. On October 23rd at the fsk. In English.

The ground-brea­king first fea­ture from the direc­tor of ORLANDO and THE TANGO LESSON, THE GOLD DIGGERS is a key film of ear­ly Eighties femi­nist cine­ma. Made with an all-woman crew, fea­turing stun­ning pho­to­gra­phy by Babette Magolte and a score by Lindsay Cooper it embraces a radi­cal and expe­ri­men­tal nar­ra­ti­ve struc­tu­re. Celeste (Colette Laffont) is a com­pu­ter clerk in a bank who beco­mes fasci­na­ted by the rela­ti­onship bet­ween gold and power. Ruby (Julie Christie) is an enig­ma­tic film star in quest of her child­hood, her memo­ries and the truth about her own iden­ti­ty. As their paths cross they come to sen­se that the­re could be a link bet­ween the male strugg­le for eco­no­mic supre­ma­cy and the fema­le ide­al of mys­te­rious but impo­tent beauty.

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GB 1983 82 Min. engl. OV • Regie: Sally Potter • Drehbuch: Lindsay Cooper, Rose English, Sally Potter • Kamera: Babette Mangolte • Kostüm: Rose English • Musik: Lindsay Cooper • Mit: Julie Christie, Collette Laffont

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A film by Seamus Murphy. In English with German subtitles.

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A child curious­ly pres­ses its face against the win­dow of a car in which British musi­ci­an PJ Harvey and pho­to­jour­na­list and film­ma­ker Seamus Murphy are sit­ting. They are in Kabul, Afghanistan, one of three desti­na­ti­ons to which they are tra­vel­ling; the others are Kosovo and Washington, D.C. Harvey is sear­ching for inspi­ra­ti­on; coll­ec­ting impres­si­ons and words, obser­ving, lis­tening and absor­bing. Her thoughts can be heard in voice-over. Hers is the chro­nic­le of a stran­ger who­se atten­ti­ve gaze is direc­ted towards the rea­li­ty of ever­y­day life in the places she visits. Inspiration turns into poet­ry, which gives rise to songs for her album ‘The Hope Six Demolition Project’. Back in London, Harvey records the­se songs with her band in a pur­po­se-built stu­dio which ser­ves as a kind of peep­show, its one-way win­dow allo­wing inte­res­ted audi­en­ces to obser­ve the process.
Seamus Murphy trans­po­ses Harvey’s search for inspi­ra­tio­nal mate­ri­al and her inti­ma­te crea­ti­ve pro­cess into an impres­si­ve­ly poe­tic mon­ta­ge that never once dive­sts the musi­ci­an of her enig­ma­tic aura. A Dog Called Money mer­ges the filmmaker’s and the musician’s visi­ons in an extra­or­di­na­ry symbiosis.

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IR/GB 2019, 90 Min., engl. OmU
Regie, Buch: Seamus Murphy
Kamera: Seamus Murphy
Montage: Sebastian Gollek
mit: PJ. Harvey

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A film by Bong Joon Ho. In Korean with German subtitles.

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Ki-taek’s fami­ly of four is clo­se, but ful­ly unem­ploy­ed, with a bleak future ahead of them. The son Ki-woo is recom­men­ded by his fri­end, a stu­dent at a pres­ti­gious uni­ver­si­ty, for a well-paid tuto­ring job, spaw­ning hopes of a regu­lar inco­me. Carrying the expec­ta­ti­ons of all his fami­ly, Ki-woo heads to the Park fami­ly home for an inter­view. Arriving at the house of Mr. Park, the owner of a glo­bal IT firm, Ki-woo meets Yeon-kyo, the beau­tiful young lady of the house. But fol­lo­wing this first mee­ting bet­ween the two fami­lies, an unstoppable string of mis­haps lies in wait.

Cannes 2019: Goldene Palme

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Gisaengchung (기생충)
KR 2019, 131 Min., korea­ni­sche OmU
Regie: Bong Joon Ho
Buch: Bong Joon Ho & Han Jin Won
Kamera: Hong Kyung-pyo
Schnitt: Yang Jin-mo
mit: Song Kang Ho, Lee Sun Kyun, Cho Yeo Jeong, Choi Woo Shik, Park So Dam, Lee Jung Eun, Chang Hya Jin

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Sorry, this ent­ry is only available in Deutsch.

LUNAR prä­sen­tiert:

aus­ge­such­te Kurzfilme von Miriam Gossing und Lina Sieckmann im Dialog mit einer Videoarbeit und einer Lesung von Vika Kirchenbauer 

Souvenir •  One Hour Real •  Desert Miracles • China Light  von Miriam Gossing & Lina Sieckmann

Please Relax Now •  Feeling Difference von Vika Kirchenbauer

26.10. 16–18 Uhr

A film by Teona Strugar Mitevska.  In Macedonian with German subtitles.

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‘Tell them you’re 24’, advi­ses Petrunya’s mother as her daugh­ter heads off to ano­ther inter­view. But Petrunya is 31; moreo­ver, she has stu­di­ed histo­ry, a sub­ject that no one in Macedonia seems to need. So the­re she sits in front of her poten­ti­al employ­er, a fac­to­ry owner, who looks down on her flo­ral dress and refu­ses to take her serious­ly. On her way home – natu­ral­ly, she did not get the job – Petrunya deci­des to take the plun­ge. It is Epiphany and, like every year, the young men of the city are diving for the holy cross that the priest has thrown into the icy river. This time, Petrunya is quicker than ever­yo­ne else and ends up hol­ding the tro­phy aloft for the TV came­ras. For one who­le day and one night, she will defend the cross, accom­pa­nied by much public com­mo­ti­on and against the clo­sed ranks of the male world.
Teona Strugar Mitevska deli­vers an angry yet melan­cho­lic sati­re that ques­ti­ons the sta­tus of demo­cra­tic chan­ge in Macedonian socie­ty and pas­ses scathing jud­ge­ment on repre­sen­ta­ti­ves of the church, the judi­cia­ry and the media. The film’s sym­pa­thies are all with the deter­mi­ned woman who asserts hers­elf against archaic tra­di­ti­ons and para­ly­zing opportunism.

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Gospod postoi, ime­to i’ e Petrunija
MK / BE / SI / HR / FR 2019,  100 Min., maze­do­ni­sche OmU
Regie: Teona Strugar Mitevska
Kamera: Virginie Saint Martin
Schnitt: Marie-Hélène Dozo
mit: Zorica Nusheva, Labina Mitevska, Simeon Moni Damevski, Suad Begovski, Violeta Shapkovska

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Trailer:

Gott exis­tiert, ihr Name ist Petrunya from JIP Film und Verleih on Vimeo.