A film by Kathryn Bigelow. In English with German subtitles.

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When a sin­gle, unat­tri­bu­ted mis­sile is laun­ched at the United States, a race beg­ins to deter­mi­ne who is respon­si­ble and how to respond.

Director’s Statement
I grew up in an era when hiding under your school desk was con­side­red the go-to pro­to­col for sur­vi­ving an ato­mic bomb. It seems absurd now — and it was — but at the time, the thre­at felt so imme­dia­te that such mea­su­res were taken serious­ly. Today, the dan­ger has only escala­ted. Multiple nati­ons pos­sess enough nuclear wea­pons to end civi­li­sa­ti­on within minu­tes. And yet, there’s a kind of coll­ec­ti­ve numb­ness — a quiet nor­ma­li­sa­ti­on of the unthinkable. How can we call this “defen­se” when the ine­vi­ta­ble out­co­me is total des­truc­tion?
I wan­ted to make a film that con­fronts this para­dox — to explo­re the mad­ness of a world that lives under the con­stant shadow of anni­hi­la­ti­on, yet rare­ly speaks of it.

Credits:

US 2025, 112 Min., Englisch OmU
Regie: Kathryn Bigelow
Kamera: Barry Ackroyd
Schnitt: Kirk Baxter
mit: Idris Elba, Rebecca Ferguson, Gabriel Basso, Jason Clarke, Greta Lee, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram und Jonah Hauer-King

Trailer:

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A film by Arjun Talwar. In Polish with German and English subtitles.

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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.

Credits:

PL/DE 2025, 97 Min., pol­ni­sche Originalfassung mit deut­schen und eng­li­schen Untertiteln
Regie & Kamera: Arjun Talwar
Schnitt: Bigna Tomschin, Arjun Talwar & Sabina Filipowicz

Trailer:

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A film by Kelly Reichardt. In English with German subtitles.

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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:

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A film by Brandon Kramer. In English aud Hebrew with German subtitles.

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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

Trailer:

Im Kino mit deut­schen Untertiteln.

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A film by Mascha Schilinski. In German.

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Four girls, Alma, Erika, Angelika, and Lenka, each spend their youth on the same farm in nor­t­hern Germany. As the home evol­ves over a cen­tu­ry, echo­es of the past lin­ger in its walls. Though sepa­ra­ted by time, their lives begin to mir­ror each other.

Cannes 2025 – Jury Prize

Credits:

DE 2024, 149 Min.,
Regie: Mascha Schilinski
Kamera: Fabian Gamper
Schnitt: Evelyn Rack
Darsteller*innen: Luise Heyer, Lena Urzendowsky, Claudia Geisler-Bading, Lea Drinda, Hanna Heckt

Trailer:

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A film by Radu Jude. In Romanian, Hungarian and German with German subtitles.

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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.

Credits:

RO 2025, 109 Min., Rumänisch, Ungarisch, Deutsch OmU
Regie: Radu Jude
Schnitt: Cătălin Cristuțiu
Kamera: Marius Panduru
mit: Eszter Tompa, Gabriel Spahiu, Adonis Tanța, Oana Mardare, Șerban Pavlu, Annamária Biluska, Ilinca Manolache

Trailer:

Im Kino mit deut­schen Untertiteln.

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A film by Martina Priessner. In German and Turkish with German and Turkish subtitles.

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In November 1992, a racist arson attack in Mölln shat­te­red the lives of İbrahim Arslan and his fami­ly. At just seven years old, İbrahim sur­vi­ved, but he lost his sis­ter, his cou­sin and his grand­mo­ther. In the after­math of the attacks, the city recei­ved hundreds of let­ters of soli­da­ri­ty which were igno­red for near­ly three deca­des. Woven into İbrahim’s poignant jour­ney of dis­co­very and his encoun­ters with three let­ter wri­ters, the­se redis­co­ver­ed let­ters form a visu­al and emo­tio­nal bridge bet­ween past and pre­sent. The film fol­lows İbrahim and his siblings, pain­ting a com­plex por­trait of the las­ting trau­ma that con­ti­nues to affect them to this day. While İbrahim has found a way to cope by fight­ing against racism and advo­ca­ting for a remem­brance cul­tu­re cent­red on the vic­tims’ per­spec­ti­ves, his brot­her Namik is still at the begin­ning of his jour­ney to come to terms with the trau­ma­tic expe­ri­en­ces.
The film not only ampli­fies the per­spec­ti­ves of the vic­tims and sur­vi­vors but also unco­vers the vibrant soli­da­ri­ty that once exis­ted – a soli­da­ri­ty of which the vic­tims and sur­vi­vors were pre­vious­ly una­wa­re. It offers a new per­spec­ti­ve on remem­brance – one that takes the voices of sur­vi­vors and their expe­ri­en­ces serious­ly and pro­vi­des them with the space and reco­gni­ti­on that they deserve.

Credits:

DE 2025, 96 Min., deutsch, tür­ki­sche Originalfassung mit deut­schen und tür­ki­schen Untertiteln
Regie: Martina Priessner 
Schnitt: Maja Tennstedt
Kamera: Ayşe Alacakaptan, Julia Geiß

Trailer:

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