Category Archives: online

Sturmhöhe

Sorry, this ent­ry is only avail­ab­le in German.

Ein Film von Andrea Arnold.

[indie­ki­no Club]

Der Klassiker Wuthering Heights – Sturmhöhe, ein­zi­ger Roman der jun­gen Emily Brontë, wur­de schon oft ver­filmt, hier aber erst­mals von einer Regisseurin. Es war ein die Erfüllung eines Traumes der Britin Andrea Arnold, bis­her bekannt für zeit­ge­nös­si­sche Regiearbeiten. Sie behan­delt nur die ers­te Hälfte des Buches, und schaff­te ein radi­ka­les Werk, das beim Filmfest Venedig ver­stör­te und begeis­ter­te. Nicht, dass die Rolle des auf­ge­nom­me­nen Sohnes Heathcliff mutig und nicht inkon­se­quent von einem schwar­zen Schauspieler inter­pre­tiert wird, son­dern die extre­me Reduzierung des Stoffes auf die Kraft der Elemente, die Sinnlichkeit der Darstellung, die Entkleidung von jeder Romantik ohne Verleugnung des Emotionalen machen den Film zu einer beson­de­ren Erfahrung. Die Geschichte der aus­sichts­lo­sen Liebe zwi­schen dem frem­den Jungen und Cathy, Tochter des Hauses, ist geprägt von Standesdünkel und Verzweifelung, Macht und Ohnmacht und kor­re­spon­diert mit der rau­hen und auch unwirt­li­chen, aber reiz­vol­len Umgebung  der Yorkshire Dales. Die Regisseurin drang dabei vor zum Kern des Romans, der bei sei­ner Veröffentlichung 1847 in die vik­to­ria­ni­sche Epoche ein­schlug wie ein Blitz. 
„Arnolds Interpretation erlangt ihren Zauber durch eine Achtsamkeit für die ein­zel­nen Ingredienzien … . Dieses erreicht sie – obschon das para­dox erscheint – gera­de durch einen pro­non­cier­ten Realismus der Darstellung, der fern jeder Verklärung ist. Dazu gehört auch ein fei­nes Gehör für die viel­fäl­ti­gen Naturgeräusche sowie der Verzicht auf sol­che Musik, die nicht zur Handlung gehört, wie etwa ein­fa­che Lieder, die Cathy singt. Erst zum Abspann ertönt der weh­mü­ti­ge Song «The Enemy» der Band Mumford & Sons.“  Susanne Ostwald, NZZ 

GB 2011, 128 Min., engl. OmU
Regie: Andrea Arnold
mit Kaya Scodelario, Nichola Burley, Steve Evets, James Howson, Shannon Beer, Solomon Glave

Kunst kommt aus dem Schnabel wie er gewachsen ist

A film by Sabine Herpich. In German with English subtitles.

[Credits] [Termine] [Verleihseite] [Trailer]

At the Mosaik art stu­dio in Berlin, artists with disa­bi­li­ties are absor­bed in their work. Sabine Herpich obser­ves the artists in the cour­se of crea­ti­on and directs her gaze at the insti­tu­ti­on its­elf: its pro­ces­ses, staff and spaces. The film suc­ceeds in main­tai­ning its focus on the art its­elf rather than the han­di­caps of its creators. It is around the­se works that the insti­tu­ti­on takes form, thus com­ing into view first and fore­mo­st as an insti­tu­ti­on for art, not one for peop­le with disa­bi­li­ties. The idea of art beco­mes holistic, encom­pas­sing the peop­le who make it as well as the pla­ces whe­re it is crea­ted; it means loo­king at the works, and tal­king about them, but also art as work, com­ple­te with working hours and wage. The filmma­ker herself is not invi­si­ble. She asks the artists about their thoughts, ide­as, methods. As the artists befo­re the came­ra meet the gaze of the filmma­ker, a heigh­te­ned sen­se of atten­ti­on and sen­si­ti­vi­ty is pro­du­ced – for the moods of the works, their creators and obser­vers, as well as for this film about art its­elf, with its gent­le, yet not timid, pre­cise yet non-restric­ti­ve form.

DOKKA dokKa-Preis der Stadt Karlsruhe
Duisburger Filmwoche: 3sat-Preis sowie eine loben­de Erwähnung der Arte-Jury
Nominiert für den Preis der deut­schen Filmkritik 2020

Verleih geför­dert durch:

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Credits:

DE 2020, 106 Min.

Mit: Adolf Beutler, Suzy van Zehlendorf, Gabriele Beer, Till Kalischer, Nina Pfannenstiel u. a.
Regie, Kamera, Montage: Sabine Herpich

O‑Ton Schnitt, Mischung: Marilyn Janssen
Color Grading: Florian Lampersberger
Titel- und Plakatgestaltung: Ulrike Damm
Produktion: Sabine Herpich, Tobias Büchner

Freigegeben ohne Altersbeschränkunge (FSK Prüfkarte: pdf)

Termine:

ab 12. August 2021

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Trailer (vor­läu­fig):

Kunst kommt aus dem Schnabel wie er gewach­sen ist from Büchner Filmproduktion on Vimeo.

Glücklich wie Lazzaro

A film by Alice Rohrwacher.  In Italian with German and English subtitles

This is the tale of a mee­ting bet­ween Lazzaro, a young peasant so good that he is often mista­ken for simp­le-min­ded, and Tancredi, a young noble­man cur­sed by his ima­gi­na­ti­on. Life in their iso­la­ted pas­to­ral vil­la­ge Inviolata is domi­na­ted by the ter­ri­ble Marchesa Alfonsina de Luna, the queen of ciga­ret­tes. A loy­al bond is sea­led when Tancredi asks Lazzaro to help him orches­tra­te his own kid­nap­ping. This stran­ge and impro­bable alli­an­ce is a reve­la­ti­on for Lazzaro. A friendship so pre­cious that it will tra­vel in time and trans­port Lazzaro in search of Tancredi. His first time in the big city, Lazzaro is like a frag­ment of the past lost in the modern world.

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Credits:

Lazzaro felice
It./Schweiz/F/D 2018, 128 Min., ital. OmU

Regie: Alice Rohrwacher
Kamera: Hélène Louvart
Schnitt: Nelly Quittier
Mit: Adriano Tardiolo, Agnese Graziani, Alba Rohrwacher, Luca Chikovani, Tommaso Ragno, Sergi Lopez und Nicoletta Braschi
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Termine:

  • noch kei­ne oder kei­ne mehr 

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Glücklich wie Lazzaro (Offizieller Trailer OmU) – Lazzaro felice

The Rider

A film by Chloé Zhao. Inn eng­lish with ger­man subtitles.

A horse’s pur­po­se is to run in the prai­ries; a cowboy’s is to ride.” So, what does a cow­boy beco­me when he can no lon­ger ride? This is the ques­ti­on at the cent­re of Chloé Zhao’s The Rider, and the defi­ning con­flict for its prot­ago­nist, Brady Blackburn. A skil­led rodeo cow­boy and hor­se trai­ner, Brady suf­fers a near-fatal acci­dent that abrupt­ly halts his care­er and for­ces him to con­tem­pla­te what a new life could look like.

The abi­li­ty to ride defi­nes a man’s worth in Brady’s world. Though riding and hor­ses are never far from his thoughts, Brady now spends his days working at the local super­mar­ket and his nights drin­king with his bud­dies. With his mother gone and with a bor­der­line alco­ho­lic father with a gamb­ling pro­blem, Brady finds hims­elf respon­si­ble­for his 15-year-old sis­ter, Lilly. With his limi­ted edu­ca­ti­on, money and local fame may seem easiest to come by in the world of rodeo, but so are inju­ry and even death.

Returning to the docu­dra­ma tech­ni­que that ear­ned her debut fea­ture, Songs My Brothers Taught Me, cri­ti­cal acc­laim, Zhao inte­gra­tes the real lives of her actors into her sto­ry­tel­ling. Majestically cap­tu­red by Joshua James Richards‘ inti­ma­te pho­to­gra­phy, the dus­ty, expan­si­ve land­s­capes pro­vi­de the can­vas for Zhao’s art. Stoic and fearless with a rare sen­se of authen­ti­ci­ty, she embraces the huma­ni­ty of its cha­rac­ters and explo­res defi­ni­ti­ons of mas­cu­lini­ty without glo­ri­fi­ca­ti­on or judgment. The Rider is less a wes­tern than a film about the real American west.
KERRI CRADDOCKTIFF

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Credits:
USA 2017, 104 Min., engl. OmU
Regie: Chloé Zhao
Kamera: Joshua James Richards

Schnitt: Alex O’Flinn
Darsteller: Brady Jandreau, Tim Jandreau, Lily Jandreau, Lane Scott
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Termine:

  • noch kei­ne oder kei­ne mehr 

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The Party

A film by Sally Potter. In eng­lish with ger­man subtitles.

Janet has just been appoin­ted minis­ter in the shadow cabi­net – the crow­ning achie­ve­ment of her poli­ti­cal care­er. She and her hus­band Bill plan to cele­bra­te this with a few clo­se friends. The guests arri­ve at their home in London but the par­ty takes an unex­pec­ted turn for the worse when Bill sud­den­ly makes two explo­si­ve reve­la­ti­ons that shock Janet and ever­yo­ne pre­sent to the core. Love, friendships, poli­ti­cal con­vic­tions and a who­le way of life are now cal­led into ques­ti­on. Underneath their cul­ti­va­ted libe­ral left-wing sur­face peop­le are seething. Their dis­pu­te leads to the big guns being brought out – even in a lite­ral sense.
For her eighth thea­tri­cal fea­ture British direc­tor and screen­wri­ter Sally Potter, who last took part in the Berlinale Competition with Rage in 2009, has invi­ted a stel­lar cast to join her par­ty. Beginning as a sub­t­ly wit­ty come­dy rep­le­te with sharp-tongued dia­lo­gue, the film later veers off into tra­ge­dy. When life can no lon­ger be con­trol­led by rea­son, peop­le will fight tooth and nail to pro­tect their see­min­gly sta­ble existence.

Großbritannien 2017, 71 Min., engl. OmU
Regie, Buch: Sally Potter
Kamera: Alexey Rodionov
Schnitt: Anders Refn, Emilie Orsini

mit:
Patricia Clarkson (April)
Bruno Ganz (Gottfried)
Cherry Jones (Martha)
Emily Mortimer (Jinny)
Cillian Murphy (Tom)
Kristin Scott Thomas (Janet)
Timothy Spall (Bill)