Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.
Credits:
CA 2024, 118 Min., Englisch OmU Regie: Lynne Ramsay Kamera: Seamus McGarvey Schnitt: Toni Froschhammer mit : Jennifer Lawrence, Robert Pattinson, Lakeith Stanfield, Sissy Spacek
Trailer:
DIEMYLOVE | Offizieller Teaser-Trailer | Ab 13. November im Kino
When a burned Quran is found on a film set, the shoot takes a dark turn and the crew are thrown into turmoil. Caught in the crossfire, an intern, Elif, is drawn into a dangerous game of secrets, accusations and lies. Mehmet Akif Büyükatalay’s ambiguous, provocative conspiracy thriller plays with the film-within-a-film motif and is rich in unexpected twists. A piercing reflection on the power of images and the dynamics of perception, projection and societal hysteria.
Credits:
DE 2025, 104 Min., Deutsch, Englisch, Türkisch, Kurdisch, Arabisch OmU Regie: Mehmet Akif Büyükatalay Kamera: Christian Kochmann Schnitt: Denys Darahan, Andreas Menn mit Devrim Lingnau, Mehdi Meskar, Serkan Kaya, Nicolette Krebitz, Aziz Çapkurt, Nazmi Kırık
A street in central Warsaw is the focus of this witty and personal portrait of Poland. Filmmaker Arjun Talwar immigrated to the country a decade ago but still struggles to fit in. Ulica Wilcza, the street where he lives, has not really helped matters. In an attempt to accelerate his integration, he begins filming his neighbours, sounding out his relationships with them and seeking ways to overcome his own feelings of alienation. With the help of his friend Mo, another immigrant-turned-filmmaker, Arjun uncovers the hidden secrets of the street, revealing a host of charming inhabitants. He finds other people like himself who are living between the past and present, between an imagined homeland and the real one. The street connects them all like an invisible thread, offering solace in the melancholy of everyday life. Along this kilometre-long stretch, a picture of modern Europe emerges, exposing a kaleidoscope of contradictions and anxieties as a foreign filmmaker holds up a mirror to a country that is often perceived as homogeneous, unwelcoming and politically right-wing.
Ángela, a deaf woman, and Héctor, her hearing partner, are expecting a child. They are excited about the pregnancy, although they do not yet know whether the baby will be deaf or hearing. Despite both claiming they can handle whatever comes, their underlying concerns are evident. After a complicated and emotionally intense labour, Ángela gives birth to their daughter, but the pair will have to wait a couple of months to learn if the baby is hearing or not. During this time, Héctor struggles to fully grasp the challenges Ángela is facing, while she must come to terms with raising a daughter who may not share her experience of the world. This journey forces both of them to question their roles as partners and parents, as Ángela grapples with her identity in a society that does not fully accept or understand her.
Credits:
Es 2025, 99 Min., span., spanische Gebärdensprache OmU Regie: Eva Libertad Kamera: Gina Ferrer García Schnitt: Marta Velasco mit: Miriam Garlo, Álvaro Cervantes, Elena Irureta, Joaquín Notario
In a sedate corner of Massachusetts circa 1970, JB Mooney (Josh O’Connor) an unemployed carpenter turned amateur art thief, plans his first big heist. When things go haywire, his life unravels.
Credits:
US 2025, 110 Min., engl. OmU Regie & Schnitt: Kelly Reichardt Kamera: Christopher Blauvelt mit: Josh O’Connor, Alana Haim, Hope Davis, John Magaro, Gaby Hoffmann, Bill Camp
Trailer:
THEMASTERMIND | Offizieller Trailer | Ab 16. Oktober im Kino
1962 – Twelve-year-old Karla is a witness in court. She files charges against the very person who was supposed to protect her: Her father. Judge Lamy is the hope at her side.
Credits:
DE 2025, 104 Min. Regie: Christina Tournatzés Kamera: Florian Emmerich Schnitt: Isabel Meier mit: Elise Krieps, Rainer Bock, Imogen Kogge, Torben Liebrecht, Katharina Schüttler
A film that is shot truly open-endedly, in the thick of it, even though – at the outset – it was impossible to predict what would happen. Liat is forcibly abducted from her kibbutz by members of Hamas on 7 October 2023 and shortly afterwards Brandon Kramer starts filming with her family. He’s right there with them, up close, as the parents Yehuda and Chaya try to deal with their fear – or to sway the fate of their adult daughter and her husband in dialogue with the authorities. As a US citizen, Yehuda flies to the USA, accompanied by Liat’s son, who is burdened by more than the public attention, and Liat’s sister, who will try to cushion Yehuda’s temper and anger. Because even within this family views are polarised: despite his pain, the father takes a critical view of Israel’s role in the Middle East conflict. He is a pacifist and will not be dissuaded from the path of reconciliation, even at the geopolitical epicentre of diplomacy and trauma. He persistently swims against the tide, takes issue with himself and everyone else and berates the Israeli government. A candid film of the hour. Insights don’t come from politics, but from Liat’s family.
Credits:
US 2025, 97 Min., Englisch, Hebräisch OmU Regie: Brandon Kramer Kamera: Yoni Brook, Omer Manor Schnitt: Jeff Gilbert
Slowly, 12-year-old Anna and her deaf mum are starting to feel a bit cramped in their flat. It’s not just the lack of privacy that’s causing friction – Anna has just started secondary school and quickly realises what’s important now: brand-name clothes and a sense of belonging. She quickly gets hold of a fake Ralph Lauren jumper, but money’s still tight. In her debut, director and author Marie Luise Lehner stages a confrontation with classist structures, which Anna tackles with a mixture of shame and grit. She finds an ally in Mara, who challenges others with feminist issues and who also lives alone with her queer father. Lehner stands by her heroes unconditionally, giving them space for introspection and outbursts, allowing them to row back and reconcile. Not fitting in allows them to get to know and appreciate who they are. Lehner flies the flag of solidarity, quite naturally and with plenty of references to pop culture. And closes with a liberating “Fuck you, Vienna”, high above the city’s rooftops.
Credits:
AT 2025, 87 Min., Deutsch, Deutsche Gebärdensprache, Englisch OmU Regie: Marie Luise Lehner Kamera: Simone Hart Schnitt: Jana Libnik, Joana Scrinzi, Alexandra Schneider mit: Siena Popović, Mariya Menner, Jessica Paar, Daniel Sea
Cluj, Transylvania. After being driven from his shelter in a house cellar, a homeless man commits suicide. Orsolya, the bailiff who carried out the eviction, is impelled to make various attempts to address her feelings of guilt. Using a mixture of drama and comedy, topics as diverse as the housing crisis, post-socialist economics, nationalism and the power of language to maintain social status are dissected with a sharp, absurdist scalpel, in a movie-literate narrative that plays partly as a homage to Rossellini’s Europa ’51 – not least in the modesty of this independent, low-budget production’s means. But while in Rossellini’s film a woman’s crisis of conscience leads to meaningful activity, here the protagonist facing the dilemma is unable to find anybody to understand her and becomes increasingly desperate for external reassurance and validation, in a manner that would be easy to condemn if Orsolya’s moral relativism were not such an uncomfortably accurate reflection of a modern-day malaise from which few of us are wholly immune.
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