A film by Hans-Christian Schmid. Starts November 3rd at the fsk. In German.

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The sto­ry of a fami­ly in cri­sis: Hans-Christian Schmid’s film of the epony­mous auto­bio­gra­phi­cal novel by Johann Scheerer retells the kid­nap­ping of Jan Philipp Reemtsma for the first time from the point of view of the fami­ly. One morning in 1996, the life of 13-year old Johann (Claude Heinrich) is tur­ned on its head. »We have to deal with an adven­ture« – with the­se words he is woken by his mother Ann Kathrin. »Jan Philipp has been kid­nap­ped«. With his father’s abduc­tion, for the first time in his life the teen­ager expe­ri­en­ces real fear – for 33 night­ma­rish days. The poli­ce turn the house into a hi-tech cri­sis cent­re and beco­me lod­gers. The stran­ge house-share is roun­ded off by lawy­er Schwenn (Justus von Dohnányi), an old fami­ly friend, and Christian Schneider (Hans Löw), ano­t­her friend with whom Johann gets on par­ti­cu­lar­ly well. While one ran­som han­do­ver after ano­t­her fails, Johann and his mother are dis­tur­bed by his father’s des­pai­ring let­ters. And it beco­mes ever clea­rer that the life of Jan Philipp Reemstma will only be saved by working against the poli­ce strategy.

Credits:

DE 2022, 119 Min.
Regie: Hans-Christian Schmid
Drehbuch: Michael Gutmann und Hans-Christian Schmid nach dem gleich­na­mi­gen Buch von Johann Scheerer
Kamera: Julian Krubasik
Schnitt: Hansjörg Weißbrich
mit: Claude Heinrich
Adina Vetter
Justus von Dohnányi
Hans Löw
Yorck Dippe
Enno Trebs
Philipp Hauß
Fabian Hinrichs

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A film by Claudia Müller. Starts November 10th at the fsk. In German with English subtitles

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Child pro­di­gy, scan­da­lous aut­hor, trai­tor to the father­land, femi­nist, fashion lover, com­mu­nist, lan­guage ter­ro­rist, rebel, enfant ter­ri­ble, nest fou­ler, bril­li­ant, vul­nerable artist.
Claudia Müller’s film about Elfriede Jelinek, who in 2004 was the first German spea­king fema­le wri­ter to be awar­ded the Nobel Prize for Literature, focu­ses on her artis­tic approach to lan­guage. ELFRIEDE JELINEK – LANGUAGE UNLEASHED is a mul­ti-laye­red, asso­cia­ti­ve film por­trait, full of con­tra­dic­tions; it approa­ches the lin­gu­is­tic mon­ta­ge tech­ni­que of the artist from her very own clo­se per­spec­ti­ve. (pro­duc­tion note)

Credits:

DE/AT 2022, 96 Min., dt. OmeU
Regie: Claudia Müller
Kamera: Christine A. Maier
Schnitt: Mechthild Barth
Mit den Stimmen von Ilse Ritter, Sandra Hüller, Stefanie Reinsperger, Sophie Rois, Maren Kroymann

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A film by Yvan Attal. Starts November 3rd at the fsk. In French with German subtitles. 

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The Farels are a power cou­p­le: Jean is a pro­mi­nent French pun­dit and his wife Claire an essay­ist known for her radi­cal femi­nism. Together they have a model son, Alexandre, who is a stu­dent at a pres­ti­gious American uni­ver­si­ty.
During a brief visit to Paris, Alexandre meets Mila, the daugh­ter of his mother’s new part­ner, and invi­tes her to a par­ty.
The next day, Mila files a com­p­laint against Alexandre for rape, des­troy­ing fami­ly har­mo­ny and set­ting in moti­on an inextri­ca­ble media-judi­cial machi­ne that posits oppo­sing truths.

Credits:

Les cho­ses humai­nes
FR 2021, 138 Min., frz. OmU
Regie: Yvan Attal
Kamera: Rémy Chevrin
Schnitt: Albertine Lastera
Mit: Charlotte Gainsbourg, Mathieu Kassovitz, Ben Attal, Pierre Arditi

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A film by Hong Sangsoo. Starts November 10th at the fsk. In Korean with German subtitles.

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Famous nove­list Junhee’s reuni­on with two acquain­tan­ces would appe­ar to be tin­ged with a slight sen­se of acri­mo­ny. The first of the­se col­leagues gave up wri­ting to open a books­to­re on the out­skirts of Seoul and has not given her any feed­back about her last book. The second, a filmma­ker, never adap­ted Junhee’s novel as plan­ned. But the more pres­sing issue is that Junhee has not publis­hed anything in a while. Instead, she has begun to ques­ti­on her approach to wri­ting and is having doubts about the sen­si­bi­li­ty that for­ged her style and her cha­ris­ma­tic, sca­thing per­so­na­li­ty. During a stroll in the park with the film direc­tor and his wife, she meets a famous fema­le actor who is expe­ri­en­cing a simi­lar hia­tus. The two con­nect so deeply that an idea for a film, which would be her first, soon begins to ger­mi­na­te in the novelist’s mind.
Hong Sangsoo’s twen­ty-seventh fea­ture is an occa­si­on for a spell­bin­ding encoun­ter bet­ween Kim Minhee and Cho Yunhee. His latest work muses on the effect of time on lives devo­ted to art; it also cele­bra­tes the beau­ty of chan­ce encoun­ters and the impor­t­ance of being truth­ful in the dis­ho­nest world of film. A paean to actors that is, well, sim­ply a love let­ter. Even if you are fami­li­ar with Hong’s con­sis­tent mas­te­ry of the form, not­hing pre­pa­res you for the heart­brea­king can­dour of the film you are about to see.

Credits:

So-seol-ga-ui yeong-hwa
KR 2021, 92 Min., korea­ni­sche OmU
Regie, Kamera, Schnitt & Buch: Hong Sangsoo
mit Lee Hyeyoung, Kim Minhee, Seo Younghwa, Park Miso

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„Weitermachen!“ war die Devise von Tatjana Turanskyj, die vor einem Jahr viel zu früh ver­starb. „Tatjana war zu-aller­erst Feministin. Sie war Autorin-Filmemacherin, Aktivistin, Performerin, Galeristin, Werbetexterin, Kritikerin, Freundin, Mentorin, Professorin, Gefährtin und Verbündete“, schrei­ben Jan Ahlrichs und Freund:innen nach ihrem Tod. Die drei Langfilme von Turanskyj (einer davon in Co-Regie mit Marita Neher) wer­den jeweils von Filmausschnitten, Einführungen und Gesprächen beglei­tet. Zahlreiche Wegbegleiter:innen haben sich ange­kün­digt um nach den Filmen zu erin­nern und das Weitermachen weiterzudenken.

Freitag, 7.10., 17:30 Uhr, Eine Flexible Frau, D 2010 ‚
Greta, 40, ist Architektin, arbeits­los, Mutter, Trinkerin. Sie jobbt im Callcenter, doku­men­tiert die Gentrifizierung Berlins, wehrt sich gegen ihre Umwelt und drif­tet tags und nachts durch die Stadt.
Samstag, 8.10., 17:30 Uhr, Top Girl oder la défor­ma­ti­on pro­fes­si­onnel­le, D 2014
Helena, 29, ist allein­er­zie­hen­de Mutter und mäßig erfolg­rei­che Schauspielerin. Deshalb arbei­tet sie neben­bei selbst­stän­dig als Sexarbeiterin. Zweiter Teil der unvoll­ende­ten „Frauen und Arbeit„-Trilogie.
Sonntag, 9.10., 17:30 Uhr, Orientierungslosigkeit ist kein Verbrechen (mit Marita Neher), D 2016

A film by Kristina Buozyte and Bruno Samper. Starts October 6th at the fsk. 

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Thirteen-year-old Vesper (Raffiella Chapman) lives on an Earth in which the eco­sys­tem has total­ly col­lap­sed. Inhabiting a dila­pi­da­ted old shack with her bedrid­den father (Richard Brake) – who can com­mu­ni­ca­te through a dro­ne which fol­lows his daugh­ter around – Vesper fora­ges for food in the unwel­co­m­ing forest whilst also expe­ri­men­ting in her lab. When she dis­co­vers a cras­hed ship from the Citadel – a fort­ress for the “gre­at and good” of socie­ty – she finds the uncon­scious body of Camellia (Rosy McEwen). Nursing her back to health, she hopes that this mys­te­rious stran­ger will help them out of their situa­ti­on and allow them to enter the uto­pia of the Citadel. But when neigh­bour Jonas (Eddie Marsan) appears with his own nefa­rious plans, Vesper must find a way to rever­se apocalypse.

Credits:

LT/FR/BE 2022, 114 Min., engl. OmU,
Regie: Kristina Buozyte, Bruno Samper
Kamera: Feliksas Abrukauskas
Schnitt: Suzanne Fenn
mit: Raffiella Chapman, Eddie Marsan, Rosie McEwen, Richard Brake

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Sorry, this ent­ry is only avail­ab­le in German.

Ein Film von Martin Gressmann. Ab 13.10. im fsk. Am 14.10. ist Martin Gressmann bei uns zu Gast, um über sei­nen Film zu sprechen.

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Immer wei­ter­lau­fen, um mit dem Leben davon­zu­kom­men … Anfang 1945 wer­den über­all dort, wo die Front in die Nähe der Konzentrationslager kommt, Gefangene Richtung Westen getrie­ben. Häftlinge aus den Lagern Sachsenhausen und Ravensbrück müs­sen bis zu 250 Kilometer mar­schie­ren. Anfang Mai wer­den die Überlebenden der Tortur in Raben Steinfeld bei Schwerin, in Ludwigslust, in Plau am See und noch wei­ter nörd­lich von der Roten Armee und der US-Armee befreit.
Über sie­ben Jahrzehnte spä­ter folgt Regisseur Martin Gressmann („Das Gelände“) den Hauptrouten der Todesmärsche durch Brandenburg und Mecklenburg-Vorpommern, an denen heu­te 200 Gedenktafeln ste­hen. In sei­nem Film „Nicht verRecken“ lässt er die letz­ten, heu­te hoch­be­tag­ten Zeugen zu Wort kom­men. Einige von ihnen spre­chen zum ers­ten Mal dar­über. Sie erin­nern sich an ein Grauen, das nicht ver­schwin­det. Wie weit muss man zurück­schau­en, um zu ver­ste­hen, wie stark das Vergangene mit dem Heutigen ver­knüpft ist?
„Martin Gressmann erzählt und ent­deckt Spuren der Grausamkeit des Reichs-Zusammenbruchs, der auf die ent­setz­li­chen Grausamkeiten der Kriegs-Triumphe not­ge­drun­gen fol­gen muss­te. Überall Unvorstellbares, was Menschen, „Häftlinge“ ertru­gen. Beginnende Rechtfertigungsversuche der Nazibonzen ange­sichts der unaus­weich­li­chen Niederlage und der bevor­ste­hen­den Entdeckung ihrer Taten. Tausende von Wandernden durch Brandenburg und Mecklenburg, ohne­hin am Ende der Kräfte, ange­trie­ben von SS-Horden mit Peitschen und Hunden, immer auf Nebenstraßen, mög­lichst unge­se­hen vor­bei an den Dörfern. Wer zurück­blieb bekam den Todesschuss. Wo sie kurz lagern durf­ten, da hat­ten die vor­an­ge­gan­ge­nen Kolonnen bereits das Gras, den Löwenzahn, die Wurzeln ver­tilgt. Völlig anders­ar­tig als die gegen­wär­tig ste­reo­ty­pen Historien-Dokus der Fernsehsender, ganz ohne Musik, lei­se, auf­merk­sam, anteil­neh­mend geht Gressmann die Strecken ent­lang, beob­ach­tet, befragt die noch leben­den einst­ma­li­gen Häftlinge oder die heu­te alten Kinder, die damals die elen­den Vorbeiziehenden gese­hen hat­ten. Er horcht und blickt auf das Detail, gibt acht auf die Topographien und lässt ahnen. Hier erweckt die Sachlichkeit ech­tes Gefühl. So sehen Filme aus, die unei­tel und gedul­dig Wahrheit suchen.“ Dominik Graf

Credits:

DE 2021, 110 Min.,
Regie & Buch: Martin Gressmann
Kamera: Volker Gläser, Sabine Herpich
Schnitt: Stefan Oliveira-Pita
mit: Simcha Applebaum, Guy Chataigné, Alexander Fried, Karol Gdanietz, Wladimier Wojwodschenko

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A film by Mano Khalil. Starts October 13th at the fsk. In Kurdish, Hebrew and Arabic with German subtitles 

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A small vil­la­ge on the Syrian-Turkish bor­der in the ear­ly 1980s: The six-year-old Kurdish boy Sero expe­ri­en­ces his first school year in an Arab school and has to watch his small world being radi­cal­ly chan­ged in the cour­se of an absurd natio­na­lism. Humorous yet serious, the film tells of a child­hood that also finds its light moments bet­ween dic­ta­tor­s­hip and dark drama.

Credits:

CH/FR 2021, 124 Min., kur­disch, hebrä­isch, ara­bische OmU
Regie & Buch: Mano Khalil
Kamera: Stéphane Kuthy
Schnitt: Thomas Bachmann
mit: Serhed Khalil, Jalal Altawil, Jay Abdo, Zîrek, Heval Naif, Tuna Dwek, Mazen Al Natour

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A film by Carolin Schmitz. Starts September 29th at the fsk. In German with English subtitles.

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Bewildering, amu­sing, insight­ful: Anke Engelke acts out eight authen­tic inter­views, assemb­ling them into a gigan­tic mosaic about motherhood.

This film tells of the joy and doubt, the power and power­less­ness, the anger and love invol­ved in mother­hood. It is at its heart a docu­men­ta­ry pro­ject: eight women aged bet­ween 30 and 75 talk about their lives as mothers. What all the­se women have in com­mon is their rea­liz­a­ti­on that mother­hood is a high­ly ambi­va­lent expe­ri­ence. For the film, the­se docu­men­ta­ry state­ments are brought tog­e­ther visual­ly in the form of a fic­tio­n­al cha­rac­ter por­tray­ed by Anke Engelke. The actress com­bi­nes the women’s reports into a laco­nic nar­ra­ti­ve about the ever­y­day life of a mother.

Credits:

DE 2022, 88 Min., deut­sche OmeU
Regie & Buch: Carolin Schmitz
Kamera: Reinhold Vorschneider
Schnitt: Stefan Oliveira-Pita, Annett Kiener
mit: Anke Engelke

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A film by Cem Kaya. In German Turkish and English with German suntitles.

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The German Federal Republic’s 1961 recruit­ment agree­ment with Turkey not only brought “guest workers” to Germany but also their music. Cem Kaya’s den­se docu­men­ta­ry film essay is a tuto­ri­al in Turkish-German recent histo­ry that tells a tale of assem­bly line jobs, home­sick­ness and fami­ly reuni­fi­ca­ti­on, the bazaar in the ele­va­ted rail­way sta­ti­on at Berlin’s Bülowstraße, xeno­pho­bia and racism, the wist­ful songs of the ear­ly years and the hip-hop of the post-reuni­fi­ca­ti­on peri­od. These are the sto­ries shared by musi­ci­ans begin­ning with Metin Türköz and Yüksel Özkasap, to the psy­che­de­lic Derdiyoklar and the chart-top­ping rap­per Muhabbet. Their music has evol­ved a long way from that of German bands and has always deve­lo­ped out of the Turkish com­mu­ni­ty and its desi­res. This is the world of Radio Yilmaz, various music cas­set­te labels, pro­test rocker Cem Karaca’s German exi­le, and wed­ding bands that also sing in Kurdish and Arabic to meet the deman­ds of the mar­ket. Extensive archi­val rese­arch and an inte­rest in Turkish popu­lar cul­tu­re are recur­ring the­mes in Cem Kaya’s work. With Aşk, Mark ve Ölüm, he has crea­ted a rhyth­mic and vivid­ly nar­ra­ted cine­ma­tic ency­clo­pa­edia of Turkish music in Germany.

Credits:

Aşk, Mark ve Ölüm
DE 2022, 96 Min., Türkisch, Deutsch, Englisch OmU
Regie: Cem Kaya
Buch Cem Kaya, Mehmet Akif Büyükatalay
Koautor*in Ufuk Cam
Kamera: Cem Kaya, Mahmoud Belakhel, Julius Dommer, Christian Kochmann
Schnitt: Cem Kaya
mit İsmet Topçu, Ömer Boral, Yüksel Ergin, İhsan Ergin, Metin Türköz, Adnan Türköz, Yüksel Özkasap, Cevdet Yıldırım, Ercan Demirel, Cavidan Ünal, Ata Canani, Cem Karaca, Betin Güneş, Aykut Şahin, Fehiman Uğurdemir, Cengiz Öztunç, Dede Deli, Mustafa Çetinol, Erdal Karayağız, İzzet Nihat Yarsaloğlu, Hatay Engin, Yasin Kıran, Aytaç Kıran, Serdar Saydan, Serkan Kaynarcalı, Rüştü Elmas, Mustafa Deniz, Oktay Vural, Orhan Amuroğlu, Ümit Gücüyener, Sultan Korkmaz, Bekir Karaoğlan, Ümit Çağlar, Ali Ekber Aydoğan, Killa Hakan, Kabus Kerim, Derya Yıldırım, Tümay Koyuncuoğlu, Rossi Pennino, Kutlu Yurtseven, Erci E., Alper Ağa, Boe B., Tahir Çevik, Volkan Türeli, Nellie, Muhabbet, Aziza A., İmran Ayata, Bülent Kullukcu, Ibrahim Ertalay, Ilkay Kökel, Mehmet Yozgut

Trailer:

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