A film by Chie Hayakawa. In Japanese with German subtitles.

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In a near future, the Japanese govern­ment pro­gram “Plan 75″ will encou­ra­ge elder­ly peo­p­le to die vol­un­t­a­ri­ly in order to com­bat the aging of socie­ty. A seni­or citi­zen who can no lon­ger live inde­pendent­ly, a prag­ma­tic “Plan 75″ sales­man, and a young Filipino care­gi­ver face a life-or-death decis­i­on. Chie Hayakawa’s PLAN 75 is a won­derful sto­ry at times full of humor which uses Japan’s aging cri­sis as a tem­p­la­te for a dys­to­pian nar­ra­ti­ve. By fol­lo­wing Michiko, Maria and Hiromu along the way, direc­tor Hayakawa cele­bra­tes life and its all ever­y­day, small plea­su­res. The cen­ter­pie­ce of this tri­ptych is Michiko, embo­di­ed by the for­mi­da­ble Chieko Baisho, an inde­pen­dent seni­or citi­zen who turns to “Plan 75″ as her last option.

Credits:

Hikari No Hana 光のはな
Japan, Frankreich, Philippinen, Katar 2022, 112 Minuten · Japanisch mit deut­schen Untertiteln
Regie: Chie Hayakawa 早川千絵
Kamera : Hideho Urata
Schnitt : Anne Klotz
mit: Chieko Baisho, Hayato Isomura, Taka Takao, Yumi Kawai, Stefanie Arianne, Hisako Okata

Trailer:

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A film by Maria Binder. In Kurdish and Turkish with German subtitles.

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Lawyer and acti­vist Eren Keskin has advo­ca­ted for the rights of women, mino­ri­ties and LGBTIQ in Turkey for over 30 years – not allo­wing hers­elf to be deter­red by the con­stant risk of being jai­led. The direc­tor has fol­lo­wed Keskin over many years. Her film draws a por­trait of a fearless women and her batt­le against oppres­si­on and vio­lence. Emre Koca

Credits:

DE 2023, 95 Min., kur­disch, türk. OmU
Regie: Maria Binder
Kamera: Meryem Yavuz
Schnitt: Angelika Levi

Trailer:

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A film by Emin Alper. In Turkish with German subtitles.

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Emre, a young and dedi­ca­ted pro­se­cu­tor, is new­ly appoin­ted to a small town hit by a water cri­sis and poli­ti­cal scan­dals. After an initi­al wel­co­me, he expe­ri­en­ces an incre­asing num­ber of ten­se inter­ac­tions and is reluc­tant­ly drag­ged into local poli­tics. When Emre forms a bond with the owner of the local news­pa­per pres­su­re escala­tes under hea­ted rumours.

Credits:

Kurak Günler
TK 2022, 129 Min., türk. OmU
Regie: Emin Alper
Kamera: Christos Karamanis
Schnitt: Özcan Vardar, Eytan Ipeker
mit: Eki̇n Koç, Erdem Şenoca, Erol Babaoğlu, Selahatti̇n Paşali, Seli̇n Yeni̇nci̇

Trailer:

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A film by Yûji Nakae. In Japanese with German subtitles.

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Writer Tsutomu lives alo­ne at a moun­tain cabin in Nagano. He coll­ects fruits and mush­rooms from the moun­tain. He also rai­ses vege­ta­bles in a field. Everyday, he cooks his meals with the­se natu­ral ingre­di­ents. Doing that, he can feel the flow of the sea­sons and he wri­tes his book. Sometimes, his editor/girlfriend Machiko visits him. They cook with sea­so­nal ingre­di­ents and eat tog­e­ther. They have a good time tog­e­ther. Tsutomu seems to be enjoy­ing an easy­go­ing life, but he is still unable to bury his dead wife’s ashes in a gra­ve. His wife died 13 years ago.

Credits:

Tsuchi o kurau jûni­ka getsu
JP 2022, 111 Min., japan. OmU
Regie: Yûji Nakae
Kamera: Hirotaka Matsune
Schnitt: Ryuji Miyajima
Buch: Yûji Nakae nach der Erzählung „Tsuchi wo Kurau Hibi – 12 Monate von der Erde essen” von Mizukami Tsutomu
mit: Kenji Sawada, Takako Matsu, Fumi Dan, Naomi Nishida, Toshinori Omi, Koihachi Takigawa

Trailer:

nach oben

Sorry, this ent­ry is only available in Deutsch.

Vom 06.–13.09.2023 fin­det die­ses Jahr das größ­te pol­ni­sche Filmfestival außer­halb Polens statt (mehr, Katalog). Im fsk zei­gen wir alle sie­ben Wettbewerbsbeiträge und zwei Specials:

Vom 06.–13.09.2023 fin­det die­ses Jahr das größ­te pol­ni­sche Filmfestival außer­halb Polens statt (mehr). Im fsk zei­gen wir alle sie­ben Wettbewerbsbeiträge und zwei Specials:
So erzählt Damian Kocurs mit Laiendarstellerinnen besetz­tes Drama CHLEB I SÓL / BROT UND SALZ im 4:3‑Format vom Klavierstudenten Tymoteusz, der in sei­ne altes abge­häng­tes Provinzstädtchen zurück­kehrt, wo Alkohol, Aggression und Ressentiments gegen alles Fremde auf der Tagesordnung ste­hen – und von der Eskalation, die dar­aus fol­gen muss. (13.9. / 20:00 Tickets) Ebenfalls in einer Stadt ohne Perspektiven ange­sie­delt ist der Dokumentarfilm LOMBARD / DAS PFANDHAUS von Łukasz Kowalski, der bei DOK Leipzig 2022 den Doc Alliance Award gewann. Die doku­men­ta­ri­sche Studie ist ein inti­mer Blick hin­ter die Kulissen eines Pfandhauses in Bytom, das nicht nur von den Schicksalen der Käuferinnen und Betreiberinnen, son­dern den pre­kä­ren Lebensentwürfen vie­ler Menschen in struk­tu­rell schwa­chen Gegenden zu berich­ten weiß. (9.9. / 20:00 GAST: Łukasz Kowalski Tickets) DAS PFANDHAUS ist nicht der ein­zi­ge doku­men­ta­ri­sche Beitrag im Wettbewerb. Als zwei­tes Roadmovie im filmPOLSKA-Programm wid­met sich BÓG I WOJOWNICY LUNAPARKÓW / GOD & LUNA PARK WARRIORS wie­der einer Familienkonstellation, die­ses­mal aus Vater und Sohn. Der athe­is­ti­sche Schriftsteller Andrzej Rodan und sein Sohn Paweł, ein tief gläu­bi­ger Christ mit ent­spre­chen­den Karriereabsichten, lie­gen in ihren Ansichten grund­sätz­lich über Kreuz und machen sich auf den Weg, den herz­kran­ken Vater zu ret­ten. Geistig-geist­lich ver­steht sich, denn es han­delt sich um den ver­zwei­fel­ten Versuch einer Evangelisation. (11.9. / 20:00 GAST: Bartłomiej Żmuda Tickets) Mit THE SILENT TWINS von Agnieszka Smoczyńska ist auch ein inter­na­tio­nal von der Kritik gefei­er­ter Beitrag im Programm. Smoczyńskas zwi­schen Drama und Thriller chan­gie­ren­der ers­ter fremd­spra­chi­ger Film fei­er­te in Cannes 2022 sei­ne Premiere und basiert auf rea­len Ereignissen: Das bar­ba­di­sche Zwillingspaar June und Jennifer Gibbons wächst in den 70er-Jahren in der xeno­pho­ben wali­si­schen Provinz auf und beschließt irgend­wann, mit nie­man­dem mehr zu spre­chen. (7.9. / 20:00 GAST: Agnieszka Smoczyńska Tickets) Ergänzend dazu steu­ert Dorota Lamparska mit PRZEJŚCIE / THE PASSAGE einen dezi­dier­ten Arthouse-Film bei, in dem die Themen Vergänglichkeit und Tod anhand einer kaput­ten Brücke ins Jenseits und dem Schicksal der zwi­schen Leben und Tod her­um­ir­ren­den Protagonistin Maria mit iro­ni­schem Unterton ver­han­delt wer­den. (12.9. / 20:00 GAST: Dorota Lamparska Tickets) Zwei Filme beleuch­ten Machtverhältnisse und Manipulation. In Grzegorz Mołdas Kammerspiel MATECZNIK / THE HATCHER muss sich der jun­ge Strafgefangene Karol mit elek­tro­ni­scher Fußfessel den bis­wei­len sadis­tisch anmu­ten­den Resozialisierungsmethoden sei­ner Betreuerin Marta fügen. (10.9. / 20:00 Tickets GAST: Grzegorz Mołda) Im Mittelpunkt von Tomasz Habowskis Schwarz-Weiß-Film PIOSENKI O MIŁOŚCI / LIEBESLIEDER steht hin­ge­gen die Musik zwi­schen Karriere und zweck­be­frei­ter Leidenschaft: Hier pral­len die Welten des hoch­am­bi­tio­nier­ten, wohl­si­tu­iert auf­ge­wach­se­nen Komponisten Robert und der als Kellnerin arbei­ten­den, „heim­li­chen“ Sängerin Alicja uner­bitt­lich auf­ein­an­der, mit schwer wie­gen­den Konsequenzen. Der Film ist pro­mi­nent besetzt: Die Rolle der Alicja spielt Justyna Święs, Sängerin des erfolg­rei­chen Pop-Duos The Dumplings. (8.9. / 20:00 GAST: Tomasz Habowski Tickets)
Die Specials: CICHA ZIEMIA | Stilles Land von Aga Woszczyńska beob­ach­tet ein pol­ni­schen Ehepaar beim Versuch, einen ent­spann­ten Urlaub an der Küste Sardiniens zu ver­brin­gen. (10.9. / 15:00 Tickets) In KOBIETA NA DACHU / Woman On The Roof von Anna Jadowska ver­zei­fel die Ärztin Mira kurz vor der Rente an drü­cken­den Schulden. (9.9. / 15:00 GAST: Anna Jadowska Tickets)
* = mit Gast

Wed., 17. Jul.:

• filmPOLSKA rel­oa­ded – Woman On The Roof um 18:00

A film by Dominik Graf and Felix von Boehm. In German with English sub­tit­les on request.

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How sure can a per­son be of them­sel­ves? This is the cen­tral ques­ti­on of Dominik Graf’s new docu­men­ta­ry essay. Based on Anatol Regnier’s epony­mous book, this film deals with artists’ desti­nies and the imme­dia­te rea­li­ty of the Nazi era. What was it like to live in a dictatorship?

In Jeder schreibt für sich allein, we encoun­ter the bio­gra­phies of very well-known aut­hors, each of whom lived extre­me­ly indi­vi­du­al ambi­va­len­ces. For exam­p­le, Gottfried Benn and Erich Kästner, who were, at the same time, ban­ned from wri­ting to the Nazis, but repea­ted­ly sup­port­ed them in dif­fe­rent ways. Or Ina Seidel, best­sel­ling aut­hor and ardent Hitler fan, who was in a secret same-sex relationship. 

Jeder schreibt für sich allein is a film that high­lights that the tempt­a­ti­on of cla­ri­ty is often the grea­test stupidity.

Credits:

DE 2023, 169 Min., deut­sche Fassung engl. UT auf Nachfrage
Regie: Dominik Graf, Felix von Boehm
Kamera: Florian Mag, Markus Schindler, Niclas Reed Middleton, Pierre Nativel, Sven Jakob-Engelmann
Schnitt: Claudia Wolscht
mit Anatol Regnier, Florian Illies, Géraldine Mercier, Albert von Schirnding, Christoph Stölzl, Henrike Stolze, Günter Rohrbach, Gabriele von Arnim, Julia Voss, Willy Kristen, Wendelin Neubert, Carlo Paulus, Simon Strauß, Clemens von Lucius, Lena Winter

Trailer:

nach oben

A film by Ira Sachs. In English and French with German subtitles.

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On the final day of his shoot in Paris, German film­ma­ker Tomas is visi­bly ten­se. He is all stern exacti­tu­de as he explains to his extras just pre­cis­e­ly how to posi­ti­on their hands or what their moti­va­ti­on is as they walk down a flight of stairs – right up until the final sla­te. At the wrap par­ty, Tomas falls first into the arms of his British hus­band Martin, but then he meets a young pri­ma­ry school tea­cher, Agathe. A dance deve­lo­ps into a flir­ta­ti­on and then into a pas­sio­na­te night tog­e­ther. The next mor­ning, Tomas proud­ly tells Martin that he has slept with a woman. As this one-night stand grows into some­thing more, the rela­ti­onship bet­ween the two men beg­ins to chan­ge. A tale of rela­ti­onships that is mark­ed by pas­si­on, jea­lou­sy and nar­cis­sism unfolds in which each shows scant sen­si­ti­vi­ty for the needs of the others.
Ira Sachs’ latest work, his sixth outing in Panorama, once again pro­ves his talent for careful­ly obser­ved rela­ti­onship dra­mas. There is a hint of French cine­ma and a tang of Fassbinder waf­ting around the three prot­ago­nists as their per­so­nal wounds con­stant­ly rede­fi­ne the power rela­ti­ons bet­ween them.

Credits:

FR 2023, 91 Min., Englisch, Französisch OmU
Regie: Ira Sachs
Kamera: Josée Deshaies
Schnitt: Sophie Reine
mit Franz Rogowski, Ben Whishaw, Adèle Exarchopoulos

Trailer:

nach oben

A film by Fabiana Fragale, Kilian Kuhlendahl and Jens Mühlhoff. In German.

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A new com­mu­ni­ty has emer­ged, thir­ty met­res abo­ve the ground in the tree­tops of the Hambach Forest. In 2018, this site beco­mes the focus of cli­ma­te poli­cy dis­pu­tes in Germany on account of a group of peo­p­le who have got invol­ved by living in self-built tree hou­ses in a bid to pre­vent the threa­ten­ed cle­arance of the forest. Film stu­dent Steffen Meyn docu­men­ted the­se acti­vists’ part­ly peaceful, part­ly radi­cal, part­ly aggres­si­ve strugg­le against the des­truc­tion of natu­re over a peri­od of two years with a 360-degree hel­met came­ra. But then he fell from a tree during a poli­ce evic­tion and died.
This docu­men­ta­ry by Meyn’s fri­ends and fel­low stu­dents Fabiana Fragale, Kilian Kuhlendahl and Jens Mühlhoff is based on his foo­ta­ge. In their film, the protagonist’s doubts come across just as cle­ar­ly as does his fri­end­ly per­se­ver­ance and his efforts to cope with the more mili­tant aspects of the move­ment. In addi­ti­on, the direc­tors con­duc­ted inter­views with acti­vists on whom the expe­ri­en­ces in “Hambi” have left their mark. How far, they ask, does acti­vism need to go? And how far should it go?

Credits:

DE 2023, 102 Min.,
Regie: Fabiana Fragale, Kilian Kuhlendahl, Jens Mühlhoff

Kamera: Carina Neubohn, Nora Daniels, Steffen Meyn
Schnitt: Ulf Albert

Trailer:

nach oben

A film by Jørgen Leth and Andreas Koefoed.

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Music for Black Pigeons is the first col­la­bo­ra­ti­on bet­ween Jørgen Leth and Andreas Koefoed. The film poses exis­ten­ti­al ques­ti­ons to influ­en­ti­al jazz play­ers such as Bill Frisell, Lee Konitz, Midori Takada and many others: How does it feel to play, and what does it mean to lis­ten? What is it like to be a human being and spen­ding your who­le life try­ing to express some­thing through sounds? The cha­rac­ters wake up, rehe­ar­se, record, per­form and talk about music. In some moments they are on the edge, the edge of exis­tence, con­stant­ly chal­len­ging them­sel­ves. They lis­ten. They devo­te them­sel­ves to fin­ding a space to crea­te a con­nec­tion to some­thing big­ger than them­sel­ves. Something that will out­last all of us. For the past 14 years, the film­ma­kers fol­lo­wed Danish com­po­ser Jakob Bro, wit­nessing his musi­cal encoun­ters with acclai­med and eccen­tric musi­ci­ans from across gene­ra­ti­ons and natio­na­li­ties. Through Bro’s com­po­si­ti­ons, the film’s cha­rac­ters explo­re the space of music—and in doing so ans­wer some of the ques­ti­ons the film poses, in a poe­tic, life-affir­ming and enter­tai­ning way.

Credits:

DK 2022, 92 Min., Englisch, Dänisch, Japanisch OmU
Regie: Jørgen Leth und Andreas Koefoedmäki
Kamera: Adam Jandrup, Dan Holmberg, Andreas Koefoed
Schnitt: Adam Nielsen
mit: Jakob Bro, Lee Konitz, Thomas Morgan, Paul Motian,
Bill Frisell, Mark Turner, Joe Lovano, Andrew Cyrille, Palle Mikkelborg,
Jon Christensen, Manfred Eicher, Midori Takada

Trailer:

nach oben

A film by Sönje Storm. In German and Low German with English subtitles.

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In a nor­t­hern German attic: boxes of pin­ned but­ter­flies, careful­ly hand-colou­red pho­to­graphs of the local flo­ra and fau­na, hundreds of stuf­fed and dus­ty birds – Jürgen Friedrich Mahrt (1882–1940) did a gre­at job. His coll­ec­tions echo a pre­sent that doesn’t exist any­mo­re. And yet all signs of an eco­lo­gi­cal cri­sis can be found buried in them.
Dead or ali­ve? There is an uncan­ny ele­ment in Jürgen Friedrich Mahrt’s pho­tos: One can’t always be sure whe­ther the ani­mal cap­tu­red in the frame is the result of hours of wai­ting or just a spe­ci­men staged to look life­li­ke. The ripp­les around the duck on the pond are miss­ing, the bird of prey looks sus­pi­cious­ly calm direct­ly into the lens. Mahrt crossed bor­ders. He sacri­fi­ced his duties as a far­mer to the urge to docu­ment natu­ral envi­ron­ments we hard­ly find in natu­re today. Ancient forests, enchan­ted moors, macro views of fat, colourful cater­pil­lars – almost magi­cal images that make one sad in view of a varie­ty irre­trie­v­a­b­ly lost. His gre­at-grand­d­augh­ter Sönje Storm has the quiet eccentric’s estate ana­ly­sed by experts, shows peat cut­ters, extinct spe­ci­es and a chan­ging coun­try­si­de. An excee­din­gly sti­mu­la­ting excur­si­on, con­ge­ni­al­ly accom­pa­nied by the scur­ri­lous elec­tro­ni­ca sounds of Dominik Eulberg and Bertram Denzel.
(Carolin Weidner, DOK Leipzig 2022)

Credits:

DE 2022, 85 Min., deutsch, platt­deut­sche OmeU
Regie: Sönje Storm
Kamera: Alexander Gheorghiu
Schnitt: Halina Daugird

Trailer:

nach oben