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Der perfekte Chef

A film by Fernando León de Aranoa. In Spanish with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

The Good Boss” takes place in and around the Blancos Básculas fac­to­ry, whe­re all things must be in balan­ce at all times. After all, they manu­fac­tu­re sca­les of all shapes and sizes. There, the see­min­gly ben­evo­lent boss, Bardem’s Blanco, is pre­pa­ring his work­for­ce for an upco­m­ing inspec­tion by a group visi­t­ing local busi­nes­ses to select one for a pres­ti­gious pri­ze. Tensions begin to mount, howe­ver, when recent­ly fired employee Jose shows up with his two child­ren and begins making deman­ds for the rein­state­ment of his employ­ment. When Blanco’s manage­ment team refu­ses, the employee begins a one man cru­sa­de to dis­credit Blanco and pre­vent him from win­ning the much-cove­ted award.

Credits:

El buen patrón
ES 2021, 120 Min., span. OmU
Drehbuch und Regie: Fernando León de Aranoa

Schnitt: Vanessa Marimbert
mit: Javier Bardem, Manolo Solo, Almudena Amor, Óscar de la Fuente, Sonia Almarcha
Kamera: Pau Esteve Birba

Trailer:
Der per­fek­te Chef Trailer OmU
nach oben

Die Magnetischen

A film by Vincent Maël Cardona. In French with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Brittany, 1980s.

A bunch of friends year­ning for exci­te­ment broad­cast a free radio sta­ti­on from their home­town in the coun­try­si­de. Jerome leads it with uni­que cha­ris­ma while Philippe, the tech­ni­cal geni­us, lives in the shadow of Jerome, his big bro­ther. When cal­led for the mili­ta­ry ser­vice, Philippe has no choice but to lea­ve for West Berlin. He’s deter­mi­ned to keep on broad­cas­ting, but rea­li­zes that he just lived the last glo­rious moments of a world on the ver­ge of extinction.

Credits:

Les Magnétiques
FR / DE 2021, 98 Min., frz. OmU
Regie: Vincent Maël Cardona
Kamera: Brice Pancot
Schnitt: Flora Volpelière
mit: Thimotée Robert, Marie Colomb, Joseph Olivennes, Meinhard Neumann

Trailer:
Magnetic Beats / Les Magnétiques (2021) – Trailer (English subs)
Im Kino mit deut­schen Untertiteln
nach oben

To the Ends of the Earth

A film by Kiyoshi Kurosawa. In Japanese and Uzbek with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Yoko (play­ed by the for­mer lea­ding mem­ber of the idol girl group AKB48, Atsuko Maeda) is the repor­ter for a tele­vi­si­on tra­vel pro­gram who visits Uzbekistan with her tele­vi­si­on crew to make an epi­so­de for the pro­gram. She dreams of beco­m­ing a sin­ger. The film con­trasts Yoko’s upbeat on-came­ra per­so­na with her inter­nal con­flicts when she is on her own.

The film con­sists of a seri­es of epi­so­des in which Yoko wades into a lake to descri­be loo­king for a pos­si­b­ly mythi­cal Uzbeki fish; pro­c­laims the deli­cious crun­chi­ness of under-coo­ked rice in a bowl of plov, a local dish; repeated­ly takes nau­sea-indu­cing turns on a fun-park pen­du­lum ride until her came­ra crew can get enough B‑camera foo­ta­ge of her face; and tri­es to libe­ra­te a goat in cap­ti­vi­ty named Okoo only to learn that if she does, it will be eaten by wild dogs.

She and the crew visit Samarkand and Tashkent; in the lat­ter, she sings the clas­sic Édith Piaf anthem, Hymne à l’a­mour (with Japanese lyrics], in a fan­ta­sy sequence set at the Navoi Theatre which (as noted below) had been built after the war by Japanese POWs. During a visit to the bazaar, she wan­ders off with a hand-held came­ra and starts video­ta­ping in a restric­ted area. She runs away from the poli­ce, who even­tual­ly appre­hend her but tre­at her kind­ly, espe­cial­ly when she learns that her fire­figh­ter boy­friend may have been invol­ved in a mas­si­ve oil refi­ne­ry fire in Tokyo Bay, whe­re he was sta­tio­ned. (The boy­friend is never actual­ly seen or heard; all the audi­ence learns about him comes from texts he exch­an­ges with Yoko.)

In a fina­le set in the moun­tains, her crew once again in pur­su­it of a likely mythi­cal beast, she again sings Hymne à l’a­mour as she ima­gi­nes that she has caught sight of Okoo run­ning free in the distance.

Credits:

Tabi no Owari Sekai no Hajimari (旅のおわり世界のはじまり)
UZ 2019, 120 Min. japa­nisch, usbe­ki­sche OmU
Regie: Kiyoshi Kurosawa
Kamera: Akiko Ashizawa
Schnitt: Koichi Takahashi
mit: Atsuko Maeda, Shota Sometani, Tokio Emoto, Adiz Rajabov, Ryo Kase

Trailer:
nach oben

Alcarràs

A film by Carla Simón. In Catalan with German and English subtitles.

[Credits] [Tickets & Termine] [Trailer]

For as long as they can remem­ber, the Solé fami­ly has spent every sum­mer picking the peaches in their orchard in Alcarràs, a small vil­la­ge in Spain’s Catalonia regi­on. But this year’s crop may well be their last, as they face evic­tion. The new plans for the land, which inclu­de cut­ting down the peach trees and instal­ling solar panels, cau­se a rift in this lar­ge, tight-knit fami­ly. For the first time, they face an uncer­tain future and risk losing more than their orchard.
After her beau­ti­ful debut Summer 1993, Carla Simón draws again on her expe­ri­ence of rural life in the Catalan coun­try­si­de, whe­re human acti­vi­ty is part of a cycle gover­ned by sea­sons in a capri­cious cli­ma­te. Family dyna­mics may be mud­di­ed by eco­no­mic con­cerns, but the­re are also dif­fe­ren­ces in how each indi­vi­du­al rela­tes to time. The youn­ger ones enjoy a see­min­gly ever­las­ting pre­sent while father bul­lish­ly igno­res the immi­nent future, and grand­f­a­ther is rely­ing on a long-for­got­ten pro­mi­se to pro­ve owners­hip of their house … This varie­ty is well-ser­ved by the natu­ral per­for­man­ces of the ensem­ble cast and ensu­res that poli­ti­cal­ly rele­vant the­mes are pre­sen­ted to us in a sub­t­le man­ner. The fami­ly is only able to find com­mon ground in tra­di­ti­on, which lea­ves us with a genui­ne dis­com­fort about what lies ahead.

Goldener Bär – Berlinale 2022

Credits:

ES/IT 2022, 120 Min., kata­la­ni­sche Originalfassung mit deut­schen und eng­li­schen Untertitlen
Regie:
Carla Simón
Buch: Arnau Vilaró, Carla Simón
Kamera: Daniela Cajías
Schnitt: Ana Pfaff
mit Jordi Pujol Dolcet, Anna Otin, Xènia Roset, Albert Bosch, Ainet Jounou, Josep Abad, Montse Oró, Carles Cabós, Berta Pipó

Trailer:
OmU-Trailer ALCARRÀSDIE LETZTE ERNTE – ab 11. August im Kino
nach oben

The Souvenir – Part II

A film by Joanna Hogg. In English with German subtitles-

[Credits] [Tickets & Termine] [Trailer]

In the second part of her self-explo­ra­to­ry diptych, Joanna Hogg ful­ly rea­li­zes the Proustian impli­ca­ti­ons of filming her memo­ries. In the begin­ning, it seems as if the film just took off whe­re the first one stop­ped, but ins­tead of moving on with the emo­tio­nal rol­ler­coas­ter ride, the mour­ning echo of Anthony’s absence now takes over and rela­tes all actions to the ques­ti­on asked at the very begin­ning of the first film: how to film life? How to film what real­ly hap­pen­ed?
As Julia tri­es to cope with her life and make her gra­dua­ti­on film about her rela­ti­ons­hip with Anthony, we redis­co­ver cine­ma as a means to heal our wounds, not necessa­ri­ly becau­se ever­ything works out, but becau­se films and the exhaus­ting ways of making them enab­le us to find new per­spec­ti­ves on exis­tence. Rarely have the doubts of gro­wing up mer­ged so beau­ti­ful­ly with fin­ding one’s voice as an artist, such as in the sequen­ces remi­nis­cent of Hogg’s own first shorts when Julia gets lost in a Cocteau laby­rinth of sur­re­al memo­ries and phan­ta­sies.
This expres­sio­nist out­burst stands in stark con­trast to the casu­al and ten­der obser­va­tions across the rest of the film, but also pres­ents us with the dis­co­very of a lan­guage that cros­ses the bridge bet­ween expe­ri­ence and film. (Patrick Holzapfel)

Credits:

GB 2021, 107 Min., engl. OmU
Regie: Joanna Hogg
Kamera: David Raedeker
Schnitt :Helle le Fevre
Mit Honor Swinton Byrne, Tilda Swinton, James Spencer Ashworth, Alice McMillan, Oli Bauer, Ariane Labed, Richard Ayoade

The Souvenir Part II – Offizieller Trailer
nach oben

Rifkin’s Festival

A film by Woody Allen. In English with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Mort Rifkin, a snob­by elder­ly film cri­tic from New York[dis­am­bi­gua­ti­on nee­ded], is tel­ling his the­ra­pist about the recent deve­lo­p­ments in his life. In the recount, he’s accom­pany­ing his much youn­ger wife Sue to a film fes­ti­val in San Sebastián. She works as a press agent for Philippe, a French direc­tor who­se banal and deri­va­ti­ve anti-war film is being uni­ver­sal­ly cele­bra­ted as a mas­ter­pie­ce, to Mort’s chag­rin. Mort quick­ly beco­mes jea­l­ous of Sue and Philippe’s rela­ti­ons­hip, which incre­a­singly moves into open flir­ta­ti­on. Mort’s inner thoughts and fears cau­ses him to have night­ma­res inspi­red by well-known black and white cine­ma­tic clas­sics like Citizen Kane, Breathless, Jules and Jim, Persona, The Exterminating Angel, and .

While at the fes­ti­val, Mort remi­nis­ces about his life and the pre­ten­tious novel that he’s been wri­ting for deca­des, try­ing to achie­ve a litera­ry rele­van­ce that elu­des him. He reflects upon his youn­ger years when he used to teach cine­ma at the uni­ver­si­ty and felt hap­py and sti­mu­la­ted. Meanwhile, he’s hel­pless to keep Sue and Philippe from spen­ding time with each other. Eventually, he seeks medi­cal advice about some chest pains and meets Joanna „Jo” Rojas, a Spanish doc­tor who spent some time in New York and is now unhap­pi­ly mar­ried with an unfaith­ful, tem­pe­ra­men­tal artist. Joanna lea­ves a las­ting impres­si­on on Mort and he repeated­ly tri­es to enga­ge her atten­ti­on by faking health issu­es. Eventually, the two go on a sight-see­ing dri­ve through the sur­roun­ding coun­try, both having a good time in the process.

On their way back to town, a flat tire for­ces Joanna and Mort to hitch­hi­ke back to Joanna’s home, whe­re she dis­co­vers her hus­band chea­ting on her with one of his models. The two have a bit­ter fight, then Joanna takes Mort back to his hotel. Here, Sue con­fronts Mort about their dete­rio­ra­ting rela­ti­ons­hip, even­tual­ly announ­cing she’s lea­ving him to start a new life with Philippe. The next morning, Mort calls Joanna, hoping to see her again befo­re he has to return to New York, but she poli­te­ly decli­nes, des­pi­te har­bo­ring some affec­tion for Mort and doubts about her own mar­ria­ge’s toxicity.

Finally, Mort ima­gi­nes hims­elf play­ing chess with Death in a par­o­dy of Ingmar Bergman’s 1957 film The Seventh Seal. Death tells him that human life is ulti­mate­ly mea­ningless, but does­n’t need to be empty. In a par­ting word of advice, Death tells Mort that he will see him again in the future, but Mort might win some extra time by making sure to exer­cise and to avoid pro­ces­sed foods. As the fes­ti­val reaches its clo­sing day, Mort reflects upon his chan­ged cir­cum­s­tan­ces, pon­de­ring to go back to be a tea­cher, this time with a less rigid atti­tu­de towards art. Back in New York, he asks his the­ra­pist what he should do now.

Credits:

ES/US/IT 2020, 92 Min., engl. OmU,
Regie: Woody Allen
Kamera: Vittorio Storaro
Schnitt: Alisa Lepselter
mit: Elena Anaya, Louis Garrel, Gina Gershon, Sergi López, Wallace Shawn, Christoph Waltz

Trailer:
RIFKIN’S FESTIVAL | Offizieller Trailer | Deutsch
im Kino mit deut­schen Untertiteln
nach oben

Dok-Termin

Sorry, this ent­ry is only avail­ab­le in German.

Unsere Dokfilmwoche, die ins­ge­samt sechs­mal jeweils Ende August statt­fand, ist vor­erst Geschichte. Sie wur­de von uns über­ar­bei­tet, zer­stü­ckelt und neu zusammengesetzt.

Herausgekommen ist Dok-Termin- 12 beson­de­re Dokumentarfilme ver­tei­len sich aufs Jahr. Jedes Werk wird zwei­mal zu sehen sein, im fsk-Kino und in einem wei­te­ren Kino der Indiekino-Gruppe. Gespräche mit den Macher*innen, Diskussionen, Einführungen und was sich sonst zur Unterstützung oder Weiterführung anbie­tet, ergän­zen die Veranstaltungen.

Das Programm ist nicht auf bestimm­te Themen, Formen oder Inhalte ausgerichtet.

Die geplan­ten Filme las­sen Zusammenhänge in neu­em Licht erschei­nen. Die gesam­te Haltung, wie Empathie und Umgang mit Protagonist*innen, der gewähl­te Blickwinkel ent­schei­den über ihre Relevanz. Wir freu­en uns über Angebote zum Dialog, oder die Einladung, beim Zuschauen eige­ne Bilder zu for­men sowie über die essay­is­ti­sche Annäherung an ein Thema.

Besondere und indi­vi­du­el­le Geschichten, die unauf­dring­lich auf einen kom­ple­xen äuße­ren Kosmos

wei­sen, sind gefragt, aber in der Umkehrung auch eine freie und wei­te Erzählung, in der sich der/die Einzelne wie­der­fin­det. Die Filme gehen vom Großen, Weiten ins Detail und las­sen vom Persönlichen, engen Rahmen aufs Allgemeine schlie­ßen, regio­nal wie weltweit. 

Hier die nächs­ten Termine:

#16 UNCOMFORTABLY COMFORTABLE

So. 21.8. 18:00 fsk-Kino [Tickets]
Mo. 22.8. 18:00 Klick-Kino

#17 A RIVER RUNS TURNS ERASES REPLACES

So., 11.9. 18:00 fsk-Kino
Mo. 12.9. 18:00 Klick-Kino

#18 JAPANBIG LAGOON VILLAGE

So., 2.10. 18:00 fsk-Kino
Mo. 3.10. 17:30 Klick-Kino

DokTermin wird rea­li­siert mit Unterstützung aus Mitteln der Berliner Senatsverwaltung für Kultur und Europa