A film by Lauro Cress. Starts Frbruary 5th at the fsk. In German with English subtitles.

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What beg­ins as a ges­tu­re of com­pas­si­on beco­mes a dan­ge­rous tempt­a­ti­on to feel like a savi­or. In Ungeduld des Herzens (Impatience of the Heart), direc­tor Lauro Cress trans­po­ses Stefan Zweig’s tim­e­l­ess sto­ry of com­pas­si­on and moral over­load into the pre­sent day – an inten­se psy­cho­lo­gi­cal dra­ma about the lon­ging for clo­sen­ess, the limits of empa­thy, and the impos­si­bi­li­ty of living for others. Winner of the Max Ophüls Prize 2025 (Best Feature Film, Best Young Actor), the film is an out­stan­ding exam­p­le of new German auteur cine­ma – powerful, tou­ch­ing, and with gre­at emo­tio­nal clarity.

A bow­ling night, a misunderstanding—and a moment that chan­ges two lives. Young sol­dier Isaac wants to impress his sis­ter when he asks the grum­py Edith to play. Only when she slumps to the flo­or does he noti­ce the wheel­chair bes­i­de her. Driven by shame, Isaac seeks out the woman he has hurt. An unu­su­al rela­ti­onship deve­lo­ps bet­ween the two – full of com­pas­si­on, hope and gro­wing depen­dence. But the more Isaac tri­es to “heal” Edith, the deeper they both beco­me ent­an­gled in a web of guilt, self-decep­ti­on and longing.

With impres­si­ve images and gre­at emo­tio­nal pre­cis­i­on, Ungeduld des Herzens tells of the dan­ge­rous line bet­ween love and pity – and how easi­ly help can turn into paternalism.

Freely adapt­ed from the novel by Stefan Zweig.

Credits:

DE 2015, 104 Min., deut­sche OmeU
Regie Lauro Cress
Kamera Jan David Gunther
Schnitt Ilya Gavrilenkov
mit: Giulio Brizzi, Ladina von Frisching, Thomas Loibl, Livia Matthes, Jan Fassbender 

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A film by Asaf Saban. In January at the fsk. In Polish, English, Hebrew with German sutitles.

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“They want you to say some­thing in Hebrew. Like a pray­er or bles­sing.” – “I don’t know what to say, so … like … I pre­fer not to do that.” – “Ok, but just some­thing short. And then they’ll lea­ve you alone.”

The end of school is approa­ching. Together with their class and a Shoah sur­vi­vor, Frisch, Nitzan and Ido embark on a bus trip through Poland to visit for­mer con­cen­tra­ti­on camps and memo­ri­als of the Shoah. The trip, which is cus­to­ma­ry for teen­agers in Israel, con­fronts them with their iden­ti­ty, some­ti­mes in a very emo­tio­nal way. Simultaneously, as on every school trip, group dyna­mics, emo­tio­nal con­fu­si­on and con­flicts of desi­re are also pre­sent. Ha’Mishlahat tells of a cul­tu­re of remem­brance from the per­spec­ti­ve of young Israelis, who­se lively ener­gy col­l­i­des with a sta­tic sys­tem of memo­ri­al sites and modes. tells of a cul­tu­re of remem­brance from the per­spec­ti­ve of young Israelis, who­se lively ener­gy col­l­i­des with a sta­tic sys­tem of memo­ri­al sites and modes.

Credits:

Ha’Mishlahat
IL/PL/DE 2023, 101 Min., Polish, English, Hebrew OmU
Regie: Asaf Saban
Kamera: Bogumił Godfrejów
Schnitt: Michal Oppenheim
mit: Neomi Harari, Yoav Bavly, Leib Lev Levin,
Ezra Dagan, Alma Dishy u. a.

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A film by Aslı Özge. In Turkish with German subtitles.

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Faruk, a man in his nine­ties, incre­asing­ly beco­mes the prot­ago­nist in the film his daugh­ter is making about the impen­ding demo­li­ti­on of his block of flats in Istanbul. In the hope of delay­ing the demo­li­ti­on of a buil­ding he has been living in for deca­des, Faruk regu­lar­ly attends buil­ding manage­ment mee­tings. As the daugh­ter films her father, the boun­da­ries bet­ween rea­li­ty and fic­tion begin to blur.
Shot in authen­tic loca­ti­ons and based on real cha­rac­ters and events, Aslı Özge’s new film offers an insight into the life of an elder­ly man in the bust­ling metro­po­lis of Istanbul. Alongside explo­ring the impli­ca­ti­ons of gen­tri­fi­ca­ti­on, the work also del­ves into the com­ple­xi­ties of a father-daugh­ter relationship.

Credits:

DE/TR/FR 2024, 97 Min., tür­ki­sche OmU
Regie: Aslı Özge
Kamera: Emre Erkmen
Schnitt: Andreas Samland, Aslı Özge
mit: Faruk Özge, Derya Erkenci, Gönül Gezer, Nurdan Çakmak, Semih Arslanoğlu, Fikret Özge

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A film by Jafar Panahi. In Farsi with German subtitles.

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Iranian direc­tor Jafar Panahi, who has been bar­red from lea­ving the coun­try, arri­ves at a vil­la­ge on the Iran-Turkey bor­der to super­vi­se a film based on a real-life cou­ple see­king pass­ports to Europe being shot in Turkey, but both his stay and the pro­duc­tion run into trouble.

Credits:

Khers nist 
IR 2022, 107 Min., far­si OmU
Regie: Jafar Panahi
Kamera: Amin Jafari
Schnitt: Amir Etminan
mit: Naser Hashemi, Jafar Panahi, Vahid Mobasheri, Mina Kavani

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Ein Film von Boris Lojkine. Starts February 19th at the fsk. In French, Pular, Maninka with German subtitles.

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As he pedals through the streets of Paris to deli­ver meals, Souleymane repeats his sto­ry. In two days, he has to go through his asyl­um appli­ca­ti­on inter­view, the key to obtai­ning papers. But Souleymane is not ready.

Credits:

L’Histoire de Souleymane
FR 2024, 93 Min., Französisch, Pular, Maninka OmU
Regie: Boris Lojkine
Kamera: Tristan Galand
Schnitt: Xavier Sirven
mit: Abou Sangare, Nina Meurisse, Alpha Oumar Sow, Emmanuel Yovanie, Younoussa Diallo, Ghislain Mahan, Mamadou Barry, Yaya Diallo, Keita Diallo

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A film by Koya Kamura. Starts February 5th at the fsk. In French and Korean with German subtitles.

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Soo-Ha isn’t too busy in win­ter, as hard­ly anyo­ne visits her coas­tal town of Sokcho in South Korea. But this time it’s dif­fe­rent: French comic-book artist Yan Kerrand has che­cked into the hotel whe­re she works. She dutiful­ly looks after him. But in the pro­cess, the boun­da­ries bet­ween per­so­nal and pro­fes­sio­nal mat­ters beco­me blur­red as he unwit­tingly trig­gers an unp­lea­sant memory. 

Credits:

FR 2024, 105 Min., Französisch, Koreanisch, Englisch OmU
Regie: Koya Kamura
Kamera: Élodie Tahtane
Schnitt: Antoine Flandre
mit: Bella Kim & Roschdy Zem

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A film by Jim Jarmusch. Starts February 26th at the fsk. Preview on January 1st.
In English with German subtitles. 

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Father Mother Sister Brother is a fea­ture film, though careful­ly con­s­truc­ted in the form of a tri­ptych. The three sto­ries all con­cern the rela­ti­onships bet­ween adult child­ren, their some­what distant parent (or par­ents) and each other. Each of the three chap­ters takes place in the pre­sent, and each in a dif­fe­rent coun­try.
Father is set in the north-east US, Mother in Dublin, Ireland, and Sister Brother in Paris, France. The film is a series of cha­rac­ter stu­dies: quiet, obser­va­tio­nal and non-jud­ge­men­tal — a come­dy, but inter­wo­ven with threads of melancholy.

Credits:

US,FR,IT,DE,IR 2025, 101 Min., Englisch OmU
Regie: Jim Jarmuch
Kamera: Frederick Elmes, Yorick Le Saux
Schnitt: Affonso Gonçalves
mit: Tom Waits, Adam Driver, Mayim Bialik, Charlotte Rampling, Cate Blanchett, Vicky Krieps, Sarah Greene, Indya Moore, Luka Sabbat, Françoise Lebrun

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A film by Sarah Miro Fischer. In German and English with English and German subtitles.

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Rose is very clo­se to her older brot­her Sam. When he is accu­sed of rape, Rose is asked to testi­fy against him as part of the inves­ti­ga­ti­on. This tests both their rela­ti­onship and Rose’s moral inte­gri­ty.
In Schwesterherz, direc­tor Sarah Miro Fischer explo­res an inti­ma­te sibling rela­ti­onship and how it is that the clo­ser we are to ano­ther per­son, the har­der it might be to see them cle­ar­ly. What kind of events have the power to des­troy even the clo­sest of bonds? When working on her film with the actors, she pla­ced par­ti­cu­lar empha­sis on phy­si­cal expres­si­on in order to be able to tell sto­ries bey­ond the spo­ken word.

Credits:

DE/ES 2025, 96 Min., Deutsch, Englisch OmU
Regie: Sarah Miro Fischer
Kamera: Selma von Polheim Gravesen
Schnitt: Elena Weihe
mit: Marie Bloching, Anton Weil, Proschat Madani, Laura Balzer, Jane Chirwa

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A film by Elsa Kremser and Levin Peter. Starts Januar 29th at the fsk. In Russian, Belarusian, English, Mandarin with German subtitles.

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A Belarusian model dre­a­ming of a care­er in China finds hers­elf drawn to a mys­te­rious loner who works the night shift at a mor­gue. Their encoun­ter unsett­les her sen­se of body, beau­ty, and mor­ta­li­ty. The fra­gi­le love sto­ry of two out­si­ders who turn each other’s worlds upsi­de down and dis­co­ver that they are not alone.

Credits:

DE/AT 2025, 115 Min., Russian, Belarusian, English, Mandarin OmU
Regie: Elsa Kremser, Levin Peter
Kamera: Mikhail Khursevich
Schnitt: Stephan Bechinger
mit: Marya Imbro, Mikhail Senkov

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A film by Ildikó Enyedi. In German and English with German subtitles.

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In the heart of a bota­ni­cal gar­den in a medieval uni­ver­si­ty town in Germany stands a maje­s­tic gink­go tree. This silent wit­ness has obser­ved over a cen­tu­ry the quiet rhyth­ms of trans­for­ma­ti­on across three human lives.
2020, a neu­ro­sci­en­tist from Hong Kong, explo­ring the mind of babies, beg­ins an unex­pec­ted expe­ri­ment with the old tree.
1972, a young stu­dent is pro­found­ly chan­ged by the simp­le act of obser­ving and con­nec­ting with a gera­ni­um.
1908, the university’s first fema­le stu­dent dis­co­vers, through the lens of pho­to­gra­phy, sacred pat­terns of the uni­ver­se hid­den within the hum­blest of plants.
We fol­low their clum­sy, awk­ward attempts to con­nect — each one of them deep­ly roo­ted in their own pre­sent — as they are trans­for­med by the quiet, endu­ring, and mys­te­rious power of natu­re. The anci­ent gink­go tree brings us clo­ser to what it means to be human — to our lon­ging to belong.

Credits:

DE/HU/FR 2025, 147 Min., deutsch, eng­li­sche OmU
Regie: Ildikó Enyedi
Kamera: Gergely Pálos
Schnitt: Károly Szala
mit: Tony Leung Chiu-wai, Luna Wedler, Enzo Brumm, Sylvester Groth, Martin Wuttke, Johannes Hegemann, Rainer Bock, Marlene Burow, Léa Seydoux

Trailer:

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