Emre, a young and dedicated prosecutor, is newly appointed to a small town hit by a water crisis and political scandals. After an initial welcome, he experiences an increasing number of tense interactions and is reluctantly dragged into local politics. When Emre forms a bond with the owner of the local newspaper pressure escalates under heated rumours.
Writer Tsutomu lives alone at a mountain cabin in Nagano. He collects fruits and mushrooms from the mountain. He also raises vegetables in a field. Everyday, he cooks his meals with these natural ingredients. Doing that, he can feel the flow of the seasons and he writes his book. Sometimes, his editor/girlfriend Machiko visits him. They cook with seasonal ingredients and eat together. They have a good time together. Tsutomu seems to be enjoying an easygoing life, but he is still unable to bury his dead wife’s ashes in a grave. His wife died 13 years ago.
Tsuchi o kurau jûnika getsu JP 2022, 111 Min., japan. OmU Regie: Yûji Nakae Kamera: Hirotaka Matsune Schnitt: Ryuji Miyajima Buch: Yûji Nakae nach der Erzählung „Tsuchi wo Kurau Hibi – 12 Monate von der Erde essen” von Mizukami Tsutomu mit: Kenji Sawada, Takako Matsu, Fumi Dan, Naomi Nishida, Toshinori Omi, Koihachi Takigawa
A new community has emerged, thirty metres above the ground in the treetops of the Hambach Forest. In 2018, this site becomes the focus of climate policy disputes in Germany on account of a group of people who have got involved by living in self-built tree houses in a bid to prevent the threatened clearance of the forest. Film student Steffen Meyn documented these activists’ partly peaceful, partly radical, partly aggressive struggle against the destruction of nature over a period of two years with a 360-degree helmet camera. But then he fell from a tree during a police eviction and died. This documentary by Meyn’s friends and fellow students Fabiana Fragale, Kilian Kuhlendahl and Jens Mühlhoff is based on his footage. In their film, the protagonist’s doubts come across just as clearly as does his friendly perseverance and his efforts to cope with the more militant aspects of the movement. In addition, the directors conducted interviews with activists on whom the experiences in “Hambi” have left their mark. How far, they ask, does activism need to go? And how far should it go?
Music for Black Pigeons is the first collaboration between Jørgen Leth and Andreas Koefoed. The film poses existential questions to influential jazz players such as Bill Frisell, Lee Konitz, Midori Takada and many others: How does it feel to play, and what does it mean to listen? What is it like to be a human being and spending your whole life trying to express something through sounds? The characters wake up, rehearse, record, perform and talk about music. In some moments they are on the edge, the edge of existence, constantly challenging themselves. They listen. They devote themselves to finding a space to create a connection to something bigger than themselves. Something that will outlast all of us. For the past 14 years, the filmmakers followed Danish composer Jakob Bro, witnessing his musical encounters with acclaimed and eccentric musicians from across generations and nationalities. Through Bro’s compositions, the film’s characters explore the space of music—and in doing so answer some of the questions the film poses, in a poetic, life-affirming and entertaining way.
DK 2022, 92 Min., Englisch, Dänisch, Japanisch OmU Regie: Jørgen Leth und Andreas Koefoedmäki Kamera: Adam Jandrup, Dan Holmberg, Andreas Koefoed Schnitt: Adam Nielsen mit: Jakob Bro, Lee Konitz, Thomas Morgan, Paul Motian, Bill Frisell, Mark Turner, Joe Lovano, Andrew Cyrille, Palle Mikkelborg, Jon Christensen, Manfred Eicher, Midori Takada
The Adamant is a unique day-care centre. A floating structure located on the Seine in the heart of Paris, it welcomes adults suffering from mental disorders, offering the kind of care that grounds them in time and space and helps them to recover or keep up their spirits. The team running it tries to resist the deterioration and dehumanisation of psychiatry as best as they can. One of the great documentary filmmakers working today, Nicolas Philibert’s approach has everything to do with getting close to his subject. Whether it is an individual such as the orangutan of Nénette (Forum, 2010), or a group of people as in La maison de la radio (Panorama, 2013), his observation over an extended period of time is motivated by a genuine and contagious interest in all that moves within a community. The question of trust is always central to a documentary filmmaker’s work and Philibert’s stance is perfect in that regard, especially for those who might have reason to mistrust their fellow humans. This gentle, enlightening film invites us to join the welcoming microcosm of the Adamant. In their company we may, as one patient suggests, decide in the morning to make sure that we will have a good day.
Berlinale 2023: Golden Bear
Sur l’Adamant FR/JP 2022, 109 Min., frz. OmU Regie, Kamera, Schnitt: Nicolas Philibert, Regie unter Mitwirkung von Linda De Zitter
FALLENLEAVES tells the story of two lonely people (Alma Pöysti and Jussi Vatanen) who meet each other by chance in the Helsinki night and try to find the first, only, and ultimate love of their lives. Their path towards this honourable goal is clouded by the man’s alcoholism, lost phone numbers, not knowing each other’s names or addresses, and life’s general tendency to place obstacles in the way of those seeking their happiness.
This gentle tragicomedy, previously thought to be lost, is the fourth part of Aki Kaurismäki’s working-class trilogy (Shadows in Paradise, Ariel, and The Match Factory Girl).
Kuolleet lehdet FI 2023, 81 Min., finn. OmU Regie: Aki Kaurismäki Kamera: Timo Salminen Schnitt: Samu Heikkilä mit: Alma Pöysti, Jussi Vatanen
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