Nedjma and Zina belong to rival girl gangs in the Parisian Banlieue. Ever since Zina sang at the youth center, 18 year old Nedjma finds herself gravitating towards her. Nedjma and Zina secretly get closer.
Credits:
Les meilleures FR 2021, 80 Min. frz. OmU Regie & Buch: Marion Desseigne Ravel Kamera: Lucile Mercier Schnitt: Julie Picouleau, Elif Uluengin mit: Lina El Arabi, Esther Rollande, Leila, Mahia Zrouki, Tasnim Jamlaoui
In Uwe Johnson’s last study in the English town of Sheerness, there was a map of Mecklenburg on the wall – the region of his childhood to which he never returned after his emigration to the West and could only reconstruct in the literary sense afterwards. Volker Koepp’s film is conceived as a geobiography: he travels with Johnson’s texts to places from the author’s life, finding people and landscapes connected to his work and his person, sometimes closely, sometimes more loosely. Koepp’s and Johnson’s poetic projects intertwine: their landscapes and biographies resist linear progression; history remains stored in them only to reveal itself again and again. For Johnson, when he swims in the Baltic Sea, the dead are present, floating in the Bay of Lübeck after the 1945 sinking of the Cap Arcona. Koepp speaks with a woman who recalls how holidaying in Italy evoked thoughts of those fleeing across the Mediterranean by boat. Johnson’s sorrow at the invasion of Prague by Warsaw Pact troops is mirrored in Russia’s ongoing attack on Ukraine, which affects the filming. When a river flows slowly, it can change direction with even just a little wind and return to its source.
Volker Koepp, „Seestück“, Ostseeküste in VorpommernVolker Koepp, „Seestück“, Sheerness-on-Sea
Credits:
DE 2023, 168 Min. deutsche OmeU Regie: Volker Koepp Schnitt: Christoph Krüger Kamera: Uwe Mann mit Stuart Roberts, Judith Zander, Erhard Siewert, Peter Kurth, Hans-Jürgen Syberberg, Helga Elisabeth Syberberg, Aukje Dijkstra, Undine Spillner, Fritz Rost, Heinz Lehmbäcker, Hanna Lehmbäcker, Dietrich Sagert, Kristian Wegscheider, Christian Höser, Thomas Irmer, Uta Löber, Erdmut Wizisla, Karin Bosinski, Hartmut Bosinski
Sara and Jean have been in a loving, stable relationship for ten years. They are happy. He is her rock, someone she can hold on to. When they first met, Sara was in a relationship with François, Jean’s best friend. One day, Sara sees François on the street. He does not see her, but she is overwhelmed by a sensation that her life could suddenly change. François does indeed get in touch with Jean to suggest that they work together again. Before long, things are in danger of spiralling out of control. Avec amour et acharnement is Claire Denis’s third collaboration with acclaimed writer Christine Angot, with whom she wrote Un beau soleil intérieur, which also starred Juliette Binoche. In a performance that is just as brave and committed, the actor proves to be exceptionally supple as her body becomes the terrain for a captivating theatre of emotional opposites. Eric Gautier’s precise cinematography shows us contrasting images of fingers comfortably intertwined, but also Sara’s entire body in forward motion, erupting in deep, uncontrollable moans. Encircled by a wall of passionate flames, Denis’s protagonists appear to be under siege, seemingly oblivious to society and its inexorable tendency to separate all things into opposing categories.
Credits:
Avec amour et acharnement FR 2022, 116 Min., frz. OmU Regie: Claire Denis Kamera: Eric Gautier Musik: Tindersticks Schnitt: Emmanuelle Pencalet, Sandie Bompar, Guy Lecorne mit Juliette Binoche, Vincent Lindon, Grégoire Colin, Issa Perica, Bulle Ogier, Mati Diop
Actor Nina travels to her home town in Germany’s Ruhr region for her grandmother’s funeral and discovers that her childhood home has remained virtually unchanged. The canary still chirps in the living room, her mother still sits in the kitchen pitting kilos of plums from the garden, and her father still occasionally indulges in a whisky from the “bottom shelf next to the digestif glasses”. But when the date for the funeral is postponed, tensions flare up again between the pragmatic mother and her cosmopolitan daughter who now lives in a large European city and considers the offer of a role in German TV soap Traumschiff (Dreamboat) to be beneath her. And kindly old grandma is no longer there to cushion such conflicts. Directed with gentle humour, DFFB graduate Tanja Egen’s perceptive feature debut is much more than just a tale of such classic family problems as repressed emotions, things that remain unspoken and a growing sense of distance. Rich in detail, Geranien is an affectionate observation of the complex relationships that exist between daughters and mothers – no matter how old a daughter and a mother may be. Loss, it seems, is a universal feeling.
Credits:
DE 2023, 83 Min., Deutsch OmeU Regie: Tanja Egen Kamera: Claudia Schröder Schnitt: Nicolas Dusollier mit Friederike Becht, Marion Ottschick, Peer Martiny, Jasmina Musić, Stefanie Meier, Aleksandra Ćorović, Adi Hrustemović, Oliver Möller, Bruno Kirchhof
Trailer:
„On Mothers and Daughters” (Geranien) | Trailer | Berlinale 2023
Laura Citarella makes a poignant and whimsical entry into the ranks of New Argentine cinema with her latest, expansively narrated feature TRENQUELAQUEN. Fans of Argentine directors such as Mariano Llínas and Alejo Moguillansky, who share the film’s screenwriting and editing credits respectively, will recognize the characteristic richly meandering storytelling, which draws on multiple quirky characters and a healthy dose of meta-humor and self-irony. In Part I, Laura (Laura Paredes, who co-wrote the script), the film’s protagonist, goes missing, sending her pragmatic jilted boyfriend and her stone-faced, yet infinitely sensitive co-worker on a quest to find her. Laura is a woman of two-pronged passions: a dedicated plant researcher, she becomes entranced with a story of a highly erotic and tormented love affair between a young female biologist and a married man. TRENQUELAQUEN I takes viewers on a journey through the eponymous provincial municipality southwest of Buenos Aires, during which ordinary landscapes, understated pitstops and situations are turned into the stations of an engrossing mystery. At its heart lies the human yearning for the extraordinary: an existential discovery plot that could forever change our lives. (Ela Bittencourt)
Credits:
AR/DE 2022, Teil 1: 128 Min./Teil 2: 132 Min., span. OmU, Regie: Laura Citarella Kamera: Agustín Mendilaharzu, Inés Duacastella, Yarará Rodriguez, Schnitt: Miguel de Zuviría, Alejo Moguillansky, mit Laura Paredes, Ezequiel Pierri, Rafael Spregelburd, Elisa Carricajo, Juliana Muras, Verónica Llinás, Cecilia Rainero u. a.
A 1963 French New Wave drama film written and directed by Jean-Luc Godard, based on the 1954 Italian novel Il disprezzo (A Ghost at Noon) by Alberto Moravia.[6] It stars Brigitte Bardot, Michel Piccoli, Jack Palance, and Giorgia Moll. Plot
Paul Javal, a young French playwright who has found commercial success in Rome, accepts an offer from vulgar American producer Jeremy Prokosch to rework the script for German director Fritz Lang’s screen adaptation of the Odyssey.
Paul’s wife, Camille Javal, joins him on the first day of the project at Cinecittà. As the first discussions are completed, Prokosch invites the crew to join him at his villa, offering Camille a ride in his two-seat sportscar. Camille looks to Paul to decline the offer, but he submissively withdraws to follow by taxi, leaving Camille and Prokosch alone. Paul does not catch up with them until 30 minutes later, explaining that he was delayed by a traffic accident. Camille grows uneasy, secretly doubting his honesty and suspecting that he is using her to cement his ties with Prokosch. Her misgivings are heightened when she sees Paul grope Prokosch’s secretary, Francesca. Back at their apartment, Paul and Camille discuss the subtle uneasiness that has come between them in the first few hours of the project, and Camille suddenly announces to her bewildered husband that she no longer loves him.
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Credits:
FR. 1963, 105 Min., frz. OmU Regie: J.-L. Godard Kamera: Raoul Coutart mit: Michel Piccoli, Brigitte Bardot, Jack Palance, Fritz Lang, Francesca Vanini, Georgia Moll
Setting: a workshop. When it comes to Thomas Schütte’s larger than life sculptures, the work is hands on – and on an impressive scale. Sanding, sawing and milling are the order of the day. The artist, with a cigarette hanging out of his mouth, moulds the eyes of a figure with his own hands or sometimes uses computer simulation. Regardless of the machinery, technology or material, it becomes clear: art is hard work. Anja Klauck
Credits:
DE 2023, 94 Min., engl., franz. deutsche OmU Regie: Corinna Belz Schnitt: Rudi Heinen Kamera: David Wesemann, Jule Katinka v. Cramer
Based on the eponymous novel by Andreas Malm, this thriller revolves around the sabotage carried out by a group of militant ecological activists. People are gathering in the desert. They’re there to prepare a mission: some have already felt the effects of environmental pollution, others are frustrated climate activists for whom radical methods appear the only means of protesting against the climate catastrophe. Their plan is to sabotage a pipeline to knock the oil business off balance and thus ensure change, where other forms of resistance have already exhausted their usefulness. The film is a variation on a heist thriller and a psychological study of activists between personal concern, radicalisation and doubt.
Credits:
US 2022, 106 Min., engl. OmU, Regie: Daniel Goldhaber mit Ariela Barer, Kristine Froseth, Lukas Gage, Forrest Goodluck, Sasha Lane, Jayme Lawson , Marcus Scribner, Jake Weary, Irene Bedard, Olive Jane Lorraine
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