a film by Behtash Sanaeeha, Maryam Moghaddam. Starts February 3rd at the fsk. In Farsi with German subtitles.

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Mina’s life is tur­ned upsi­de down when she learns that her hus­band Babak was inno­cent of the crime for which he was exe­cu­t­ed. The aut­ho­ri­ties apo­lo­gi­se for the mista­ke and offer the pro­spect of finan­cial com­pen­sa­ti­on. Mina starts a silent batt­le against a cyni­cal sys­tem for her own and her daughter’s sake. Just as her money is run­ning out, a stran­ger named Reza knocks at her door, say­ing he has come to repay a debt he owed to Babak. Mina is guar­ded at first, but incre­a­singly lets Reza into her life, unawa­re of the secret that ties them to one ano­t­her.
Behtash Sanaeeha and Maryam Moghaddam mas­ter­ful­ly pre­sent guilt and ato­ne­ment, a clas­sic tro­pe of Iranian film, as a cine­ma of small, pre­cise ges­tu­res and spaces. Maryam Moghaddam excels in the role of a Mina caught bet­ween lone­li­ness and her strugg­le for self-determination.

Credits:

Ghasideyeh gave sef­id
IR/FR 2020, 105 Min., far­si OmU
Buch und Regie: Behtash Sanaeeha, Maryam Moghaddam
Kamera: Amin Jafari
Schnitt: Ata Mehrad, Behtash Sanaeeha
mit Maryam Moghaddam, Alireza Sanifar, Pourya Rahimisam, Avin Purraoufi, Farid Ghobadi, Lili Farhadpour

Trailer:

nach oben

a film by Pawo Choyning Dorji. Starts January 13th at the fsk. In Dzongkha with German subtitles.

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Struggling with his pro­fes­si­on as a tea­cher, Ugyen is sent to Lunana in nort­hern Bhutan for his final year of trai­ning. With a warm wel­co­me, the local child­ren try to win him over but they do not have much time.

Credits:

BT/CN 2021, 109 Min., Dzongkha OmU
Buch und Regie: Pawo Choyning Dorji
Schnitt: Hsiao-Yun Ku
Kamera: Jigme Tenzing
mit: Sherab Dorji, Ugyen Norbu Lhendup, Pem Zam, Kelden Lhamo Gurung

Trailer:

nach oben

a film by Moumouni Sanou. Starts January 6th at the fsk. In Dioula with German subtitles .

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In der Kreisstadt Bobo-Dioulasso, in der Nähe von Burkina Fasos Hauptstadt Ouagadougou, geben Sexarbeiterinnen ihren Nachwuchs in die Obhut von Frau Coda, einer älte­ren Dame, die sich seit Jahrzehnten um Kinder küm­mert, deren Mütter nachts auf der Straße ihr Geld ver­die­nen. Dem Filmemacher Moumouni Sanou ist es über die Jahre gelun­gen, das Vertrauen aller Beteiligten zu gewin­nen und einen tie­fen Einblick in das Leben von Odile und Farida zu bekom­men, die bei­de auf die Dienste von Frau Coda ange­wie­sen sind. Zärtlich und sehr genau beob­ach­tet er alle Aspekte ihres Lebens, Hausarbeit, Freizeit, inti­me Momente des Mutterseins, auch ihre Beziehung zu Frau Coda und wie die­se ihre Kinder erzieht. Im Mittelpunkt des Films ste­hen die Erfahrungen von Frauen. Männer und Väter sind abwe­send, außer in den mal amü­san­ten, mal zutiefst erschüt­tern­den Geschichten, die Farida und Odile von ihrer Arbeit erzäh­len. Sanous zurück­hal­ten­der, respekt­vol­ler Blick macht die Vorzüge hori­zon­ta­len Filmemachens deut­lich, das sich durch größt­mög­li­che Aufmerksamkeit und Sensibilität den Protagonisten gegen­über auszeichnet.

Credits:

Garderie noc­turne
UV/FR/DE 2021, 67 Min., Dioula OmU,
Regie Moumouni Sanou
Kamera: Pierre Laval
Schnitt: François Sculier
mit: Odile Kambou, Fatim Tiendrebeogo 

Trailer:

nach oben

a film by Thomas Balmès. Starts December 9th at the fsk. In Dzongkha with German subtitles.

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16-year-old Peyangki has lived as a monk in a monas­te­ry in the moun­tains of Bhutan sin­ce ear­ly child­hood. His smart­pho­ne is the con­nec­tion to the world, in it he has seen ever­ything – and he has fal­len in love. He met Nguen on WeChat, the Chinese face­book. For mon­ths, the two exchan­ge messages day and night, Peyangki sings for her, she reve­als her wis­hes and hopes for the future. It is first, total love that chan­ges ever­ything and turns the life of a teen­ager upsi­de down.

He for­got that he wan­ted to make money; for­got that he wan­ted to return from the monas­te­ry to his fami­ly. Now he wants to go to town, and meet Nguen – becau­se so far they’­ve only met vir­tual­ly. „Sing Me a Song” will accom­pa­ny the young monk on his jour­ney to the capi­tal and his first mee­ting with Nguen.

Credits:

FR/DE/CH 2019, 90 Min., Dzongkha OmU,
Regie & Kamera: Thomas Balmès,
Schnitt: Alex Cardon, Ronan Sinquin

Trailer:

nach oben

a film by Jane Campion. Starts December 16th at the fsk. In English with German subtitles.

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Set in Montana in the 1920s, Jane Campion’s hot­ly anti­ci­pa­ted new film is an ent­hral­ling revi­sio­nist wes­tern awa­sh in sub­li­me expan­ses and nuan­ce, cap­tu­ring a land­s­cape and a peop­le dri­ven by the fan­ta­sy and fol­ly of wes­tern expan­si­on. Adapted from Thomas Savage’s cult novel of the same name, The Power of the Dog tells the sto­ry of suc­cess­ful ran­cher bro­thers George (Jesse Plemons) and Phil (Benedict Cumberbatch) Burbank, who­se rela­ti­ons­hip sours when the more mild-man­ne­red George mar­ries local widow Rose (Kirsten Dunst).

Rose and her son Peter (Kodi Smit-McPhee) arri­ve at the Burbank ranch — see­min­gly who­le­so­me and naï­ve — and attempt to fit into the family’s com­plex dyna­mic of new money, but are con­ti­nu­al­ly sty­mied by an unspo­ken bro­ther­ly bond. Phil’s past as a clas­sics scho­l­ar at Yale is bare­ly dis­cer­ni­ble as he sports a tough and dir­ty exte­rior, while fre­quent­ly refer­ring to the anti­cs of his men­tor Bronco Bill. Cumberbatch shi­nes in this fero­cious per­for­mance as a cow­boy to the core, who­se hurtful, macho quips toward Peter and his mother hint at a sim­me­ring menace and a capa­ci­ty for erra­tic cru­el­ty and vio­lence; a kind of camou­fla­ge that only ser­ves to repress deep-sea­ted trau­ma and latent desire.

Proving once again that she is one of today’s grea­test filmma­kers, Campion deli­vers a fasci­na­ting stu­dy of mas­cu­lini­ty and inter­nal torment, sub­ver­ting the codes of the wes­tern — and of the male gaze — in a uni­ver­se that is always shif­ting in tone, ren­de­red with stun­ning cine­ma­to­gra­phy by Ari Wegner, a dis­ori­en­ting score by Jonny Greenwood, and a ter­ri­fic ensem­ble cast.

Credits:

NZ/AU 2021, 126 Min, engl. OmU
Regie: Jane Campion
Kamera: Ari Wegner
Schnitt: Peter Scibberas
mit: Benedict Cumberbatch
Jesse Plemons
Kirsten Dunst
Kodi Smit-McPhee

Trailer:

nach oben

a film by Maryam Touzani. Starts December 9th at the fsk. In Arabic with German subtitles.

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Abla runs a popu­lar bak­e­ry in the nar­row streets of Casablanca’s old town. Mother of eight-year-old Warda, the wido­wed for­ty-some­thing is facing a busy day-to-day life. When her rou­ti­ne is bro­ken by a knock on the door, she is still unawa­re that her life is about to chan­ge fore­ver. On the door­step stands Samia, a pregnant young woman asking for a place to stay in exchan­ge for help around the house and in the bak­e­ry. While Abla does not want to enga­ge with this stran­ger pro­mi­sing not­hing but trou­ble, litt­le Warda immedia­te­ly takes to Samia. One night tur­ning into several, the cool­ly detached Abla incre­a­singly fails to hide the fact that Samia is an unex­pec­ted asset to her bak­e­ry busi­ness as well as her ent­i­re life. Adam is a bit­ters­weet dra­ma, car­ri­ed by the excep­tio­nal Belgian-Moroccan star actress Lubna Azabal.

Credits:

MA/FR 2019, 98 Min., arab. OmU
Regie: Maryam Touzani
Kamera: Adil Ayoub
Schnitt: Julie Naas
mit: Douae Belkhaouda, Aziz Hattab, Hasna Tamtaoui u. a.

Trailer:

nach oben

a film by Ryûsuke Hamaguchi. Starts December 23rd at the fsk. In Japanese with German subtitles.

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2021 has been an annus mira­bi­lis for Ryusuke Hamaguchi, who has pre­mie­red two fea­ture films, both very dif­fe­rent, both equal­ly mas­ter­ly. After the the­ma­ti­cal­ly con­nec­ted tri­ptych of WHEEL OF FORTUNE AND FANTASY, Hamaguchi del­ves into more expan­si­ve­ly nove­listic ter­ri­to­ry, alt­hough the source is a short sto­ry by Haruki Murakami.
An exten­ded pre­face intro­du­ces us to a Tokyo cou­p­le, actor and direc­tor Yusuke and screen­wri­ter Oto, who­se pen­chant for ero­tic sto­ry­tel­ling hints at pos­si­bi­li­ties that will con­ti­nue to trou­ble Yusuke. Two years later, he arri­ves in Hiroshima to direct Chekhov’s Uncle Vanya at a theat­re fes­ti­val and is assi­gned a young woman named Misaki as his dri­ver. After a trou­bled rehe­ar­sal pro­cess and Yusuke’s pro­blems with a trou­ble­so­me young actor, Yusuke and the initi­al­ly reser­ved Misaki begin to com­mu­ni­ca­te.
A three-hour run­ning time allows Hamaguchi to unspool a sub­t­ly, den­se­ly pat­ter­ned nar­ra­ti­ve to maxi­mum effect, with Chekhov’s dra­ma sub­li­mi­nal­ly reso­na­ting as a back­ground sub­text. Quietly moving, intel­lec­tual­ly invol­ving, DRIVE MY CAR is argu­ab­ly the most matu­re and most ele­gant dra­ma of 2021. (Jonathan Romney)

Credits:

ドライブ・マイ・カー Doraibu mai kâ
JP 2021, 179 Min., japan. OmU
Regie: Ryûsuke Hamaguchi
Drehbuch: Ryûsuke Hamaguchi, Haruki Murakami, Takamasa Oe
Kamera: Hidetoshi Shinomiya
Schnitt: Azusa Yamazaki
mit: Hidetoshi Nishijima, Tôko Miura, Masaki Okada, Reika Kirishima

Trailer:

nach oben

Zabij o i wyje­dź z tego mias­ta / Kill It And Leave This Town

PL 2019, 88 min, OmU

R/B: Mariusz Wilczyński

S: Jarosław Barzan

M: Tadeusz Nalepa

D: Krystyna Janda, Andrzej Chyra, Maja Ostaszewska, Marek Kondrat, Andrzej Wajda, Tomasz Stańko, Daniel Olbrychski u. a. (Stimmen)

Eine Stadt irgend­wo in Polen, ver­mut­lich Łódź, für die das Wort „trist“ erfun­den wur­de – in den Achtziger- oder Neunzigerjahren kle­ben geblie­ben, düs­ter, farb­los, ver­reg­net, erdrückt von rau­chen­den Fabrik-Schornsteinen, bewohnt von teil­nahms­lo­sen Menschen, deren ein­zi­ge Lichtpunkte die fla­ckern­den Neonröhren der Straßenbahn sind. Menschen wer­den gebo­ren, Menschen leben, Menschen ster­ben und der Kreislauf beginnt von vorn.

In die­ser Umgebung, die zwar Wilczyński-typisch grob gezeich­net, aber in man­chen Momenten fast foto­rea­lis­tisch ani­miert ist, erzählt der Zeichner und Autor eine Geschichte – sei­ne Geschichte, denn das Kind bzw. der altern­de Mann hört auf den Namen Mariusz, dreht einen schwer in Worte zu fas­sen­den Film und unter­nimmt dabei eine Zeitreise durch sein Leben, bis zu sei­nen Anfängen und die Zeit davor. Aus zunächst schwer dechif­frier­ba­ren, kryp­ti­schen Szenen setzt sich Stück für Stück – an den Gitarren-Riffs von Rock-Ikone Tadeusz Nalepa ent­lang han­gelnd – eine hoch­emo­tio­na­le Reflexion über das Werden und Vergehen zusam­men, syn­chro­ni­siert von der crè­me de la crè­me pol­ni­scher Schauspielkunst.

Mariusz Wilczyński (geb. 1960) stu­dier­te an der Kunstakademie in Łódź und erreg­te schon früh als bil­den­der und Performance-Künstler Aufsehen.  Mitte der Neunzigerjahre begann er, Animationsfilme zu dre­hen, bei denen er häu­fig allein für Regie, Drehbuch, Zeichnungen und Animation zustän­dig war. Sein ers­ter Langfilm „Zabij o i wyje­dź z tego mias­ta“ war der ers­te Animationsfilm, der den Hauptpreis beim Filmfestival in Gdynia gewin­nen konnte.

01.09. / 20:15 / fsk Kino [Tickets]

wei­te­re filmPOLSKA Termine:

• noch kei­ne oder kei­ne mehr 

A film by Alexandre Koberidze.

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A chan­ce encoun­ter at the gates of a school in Kutaisi in Georgia. Lisa and Giorgi bump into each other and a book falls to the ground. Clearly dazed, they arran­ge a date without even having told each other their names. It is love at first sight and, as if enchan­ted, things begin to come to life: the sur­veil­lan­ce came­ra beco­mes an evil eye, the drain­pipe an ora­cle, they clo­se their eyes and – ding! The lovers are cur­sed, con­dem­ned to wake up the next day loo­king com­ple­te­ly dif­fe­rent. But it is pre­cise­ly this super­na­tu­ral obsta­cle to them mee­ting again which beco­mes their ticket to a world ruled ent­i­re­ly by the magic of the ever­y­day – in all its simp­le beau­ty, ten­der come­dy and an enthu­si­asm for foot­ball that infects young and old ali­ke, even the phleg­ma­tic street dog Vardy.
As in Let the Summer Never Come Again, it is the poe­try of aim­less­ness that enab­les Alexandre Koberidze to make visi­ble and nar­ra­t­a­ble in cine­ma ever­ything that we rare­ly per­cei­ve in the rea­li­ty of our ever­y­day lives. Get your ligh­ters out becau­se, as Gianna Nannini is allo­wed to sing so fer­vent­ly in this gem of a film, the nights are inde­ed magical.

Credits:

Ras vkhe­davt, rode­sac cas vuku­rebt?
DE/GE 2021, 150 Minuten, geor­gisch mit dt. Untertiteln,
Regie: Alexandre Koberidze
Kamera: Faraz Fesharaki
Schnitt: Alexandre Koberidze
mit: Ani Karseladze, Giorgi Bochorishvili, Oliko Barbakadze, Giorgi Ambroladze, Vakhtang Panchulidze, Sofio Tchanishvili, Irina Chelidze, David Koberidze, Sofio Sharashidze

Trailer:

nach oben

A film by Kitty Green. Starts December 23rd at the fsk. In English with German subtitles.

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Another day at the office. Jane, the new assi­stant to a power­ful media mogul, is the first to arri­ve and, by the end of the film, will be the last to lea­ve. She does her job, endu­res her col­leagues’ con­stant hos­ti­li­ty and app­lies herself to her gro­wing pile of tasks with pain­sta­king pre­cisi­on: prin­ting out sche­du­les, arran­ging tra­vel, orde­ring lunch and tidy­ing up her boss’s office. Without him ever once put­ting in an appearan­ce in front of the came­ra, his exis­tence is none­theless all-per­va­si­ve – for both Jane and the audi­ence. We hear him on the other end of the pho­ne repri­man­ding Jane; we also wit­ness the array of attrac­ti­ve young women who are paying a visit to the com­pa­ny at his behest. Jane’s sus­pi­ci­ons and dis­com­fort spin out of con­trol as it beco­mes clear that she is part of an abu­si­ve system.
Assembled with visu­al rigo­ur and nar­ra­ti­ve quietu­de, Kitty Green’s grip­ping fic­tio­n­al debut homes in on opp­res­si­ve prac­ti­ces in a work­place and depicts the abu­se taking place behind clo­sed doors from the per­spec­ti­ve of tho­se who are its wil­ling or unwil­ling enab­lers. By the end, we may not have seen much, but we under­stand everything.

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Credits:

US 2019, 87 Min., engl. OmU,
Regie: Kitty Green
Kamera: Michael Latham
Schnitt: Kitty Green, Blair McClendon
mit Julia Garner, Matthew Macfadyen, Makenzie Leigh, Kristine Froseth

Termine:

• noch keine 

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