Armies of mounted beetles, arranged in rank and file. In drawers and glass containers, reptiles and birds sorted in the most magnificent forms. An almost macabre beauty is found in the catalogued sub-universes of the Natural History Museum Vienna: sub-universes that stand for the whole range of evolution and are part of the immense, expertly prepared collection of this world-renowned institution of knowledge. With an appropriately curious attitude, Joerg Burger devotes great attention to this cumulative archive of pure research for its own sake, its exhibits and underlying craftwork, but first and foremost to the people who work there,…
Armies of mounted beetles, arranged in rank and file. In drawers and glass containers, reptiles and birds sorted in the most magnificent forms. An almost macabre beauty is found in the catalogued sub-universes of the Natural History Museum Vienna: sub-universes that stand for the whole range of evolution and are part of the immense, expertly prepared collection of this world-renowned institution of knowledge. With an appropriately curious attitude, Joerg Burger devotes great attention to this cumulative archive of pure research for its own sake, its exhibits and underlying craftwork, but first and foremost to the people who work there,…
The journalist Leo hopes to finally make an international breakthrough with a report about a rebel group in Thailand. His friend Mawar helps him make local contacts. In return, Leo promises to support him in starting over in Germany. But when the editors sending him the photographer Julian without asking, Leo becomes increasingly entangled in a web of lies and morally questionable decisions.
Credits:
DE 2024, 75 Min., Deutsch, Englisch, Thai und Melayu mit deutschen Untertiteln, Regie: Hannes Schilling Schnitt: Marie Fontanel, Paul Gröbel Kamera: Falco Seliger mit: Ilja Stahl, Sabree Matming, Dennis Scheuermann
»Why haven’t I seen this before?« In the first scene of Copa 71, American international footballer Brandi Chastain stares at her tablet in amazement. She is watching footage of the first ever international women’s football tournament in Mexico City in 1971, Copa 71. Why is it that one of the best-attended women’s sporting events of all time has been forgotten?
In 1970, the first European tournament took place in Italy; SC 07 Bad Neuenahr represented Germany. A year later, international teams from Argentina, England, France, Denmark and Mexico competed against each other in Mexico. This purely commercial event, which was not backed by FIFA, proved a huge success, attracting crowds of 100,000 to the stadiums. Yet what could have been the launch pad for women’s football worldwide failed to attract any support. Another ten years would pass before the next international tournament. In Taipei, Taiwan, SSG 09 Bergisch Gladbach became world champions in 1981. This also paved the way for the formation of an official women’s national team in Germany in 1982. One thing to note though: women’s football was officially banned until 1970. Perhaps not surprising then that another decade passed before the first FIFA Women’s World Cup was held, in China. The final saw Brandi Chastain score the winning penalty to help the US take the trophy home.
The film presents archive footage of the tournament, plus interviews with the players of the time – impressive personalities who provide vivid accounts of the preparations and the tournament itself. A threatened walk-out by the Mexican team over pay at one point put the tournament in jeopardy, as did the tense atmosphere between the teams, still tangible when watching the film in the cinema.
Credits:
GB 2023, 91 Min., Englisch/Spanisch/Italienisch/Französisch mit deutschen Untertiteln, Regie: Rachel Ramsay und James Erskine Schnitt: Arturo Calvete und Mark Roberts Kamera: Angela Neil
Aya is a woman in her early thirties. After astonishing everyone by saying “No” on her wedding day, she leaves the Ivory Coast for a new life in China. Living in an area where the African diaspora meets the Chinese culture, she finds a job in a tea boutique owned by Cai, a 45-year-old Chinese man. In the privacy of the shop’s backroom, Cai initiates Aya into the Chinese tea ceremony. As he teaches her this ancient art, their relationship slowly grows into one of tender love. But for their burgeoning passion to be supported by trust, both of them must let go of their burdens and face up to their pasts.
Credits:
FR/MR/LU/TW/CI 2024, 111 Min., Mandarin, Französisch, Englisch, Portugiesisch OmU Regie: Abderrahmane Sissako Kamera:Aymerick Pilarski Schnitt: Nadia Ben Rachid mit Nina Mélo, Chang Han, Wu Ke-Xi, Michael Chang
There was an eery silence after a fire had destroyed the Moria camp completely in September 2020. Not just locally, but in public discourse. The world did not seem particularly concerned with the inhumane conditions in other camps on Europe’s external borders or the countless pushbacks in the Mediterranean. Nor did the arrest of six adolescents who were accused of arson resonate in any audible way – though even a second glance at the circumstances of the investigation and the criminal proceedings revealed the actions of the Greek judiciary to be questionable. Not to mention the underlying refugee policy of the European Union. Jennifer Mallmann dares to take this second glance with her film. At its centre is her correspondence with Hassan, one of the convicted youths, who tells her of his everyday life, his desires and fears from prison. Calm, precisely framed images document “normality” on the fringes of Fortress Europe. They show how strategical isolation and the ensuing structural exclusion work. If you want to know how our community of nations imagines its future you only need to look at the newly-built futuristic high-security camps, where new arrivals are treated like people who have committed serious crimes. Luc-Carolin Ziemann
Credits:
DE 2024, 82 Min., OmU, Regie: Jennifer Mallmann Kamera: Sina Diehl Schnitt: Maxie Borchert
Aysun Bademsoy’s long-term observation of Turkish female soccer players in Berlin-Kreuzberg focuses on the next generation 30 years after their first encounter. Born and raised in Germany, they still ask themselves the question: Do we really feel accepted here? It seems as if a cultural rift still defines their lives. Referring back to the 1990s, their mothers today reminisce about a youth in which the game of soccer provided the space for emancipation.
Credits:
DE 2024, 86 Min., deutsch, türkische OmU Regie: Aysun Bademsoy Kamera: Isabelle Casez, Ines Thomsen Schnitt: Maja Tennstedt
Isabell’s life takes a turn when she realises that her elderly parents can no longer live independently. The search for carers is difficult and there are also complications in her marriage to Philippe. She shuttles between Berlin and her parents’ weekend house, a striking modernist building designed by her prominent father himself in better days. There, Isabell repeatedly encounters the enigmatic Anja, a single mother who is struggling to make ends meet. An unexpected bond begins to form. The more Anja and her daughter Greta become part of Isabell’s life, the more uncertain she feels about the existence she has so carefully built for herself. Isabell senses the ground shifting beneath her feet as she increasingly loses control.
Credits:
DE/FR 2024, 100 Min., Regie: Ina Weisse Kamera:Judith Kaufmann Schnitt: Hansjörg Weißbrich mit Nina Hoss, Saskia Rosendahl, Vincent Macaigne, Thorsten Merten
When parents can no longer fulfil their duty of care, the children’s world often falls apart. Nothing stays as it was. Suddenly it is no longer mum or dad who are in charge but the youth welfare system. Daniel Abma followed a youth housing group in a rural area over several years, showing professional educators who want to give five boys between the ages of seven and fourteen what they need most urgently, day by day: security, orientation, a home. The documentary focus is not on the children but on those who take the parents’ place. They sometimes remind us of Don Quixote tilting at the windmills, for there is a diffusion of responsibility between school, youth welfare services, and absent mothers and fathers. Words fail when adults do not keep appointments, when those in charge capitulate in the face of racist bullying and propose some “time out” – for the bullied boy – in a psychiatric facility. It would be easy to denounce these mechanisms, but that is not the point Daniel Abma wants to make. His observation, both emphatic and reserved, looks questioningly into the gaps in the system – with those who are in danger of falling through and those who try to fill them with affection. He makes us suspect that the answer is not to close all the system’s gaps. It is people who are there for other people and take responsibility. Luc-Carolin Ziemann
Credits:
DE 2024, 91 Min., dt. OmeU Regie: Daniel Abma Kamera: Johannes Praus Schnitt: Jana Dugnus
In the working-class district of old Marseilles, Rosa is the heart and soul of her community, a nurse and the matriarch of a large and close-knit family. But approaching retirement and surrounded by political inertia, she is feeling disillusioned. Until she meets Henri and realises it is never too late to fulfil her own political and personal dreams.
Credits:
Et la fête continue ! FR/IT 2023, 106 Min., frz. OmU Regie: Robert Guédiguian Kamera: Pierre Milon Schnitt: Bernard Sasia mit: Ariane Ascaride, Jean-Pierre Darroussin, Gérard Meylan, Lola Naymark, Grégoire Leprince-Ringuet, Robinson Stévenin.
Trailer:
And the Party Goes on / Et la fête continue ! (2023) – Trailer (English Subs)
„Don’t talk, do!” At the end of the 70s, punk promised rebellion and self-empowerment. Also for the women in the scene. They fought for their place on stage between the dominant punk top dogs, playing against social norms and long-outdated female role models. This is their story.
Credits:
DE/CH 2024, 89 Min., deutsche OmeU Regie: Reto Caduff Kamera: Roman Schauerte, Stephan Huwyler Schnitt: Beatrice Babin, Ginés Olivares
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