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Die Verachtung – Le Mépris

A film by Jean-Luc Godard. In French with German subtitles.

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A 1963 French New Wave dra­ma film writ­ten and direc­ted by Jean-Luc Godard, based on the 1954 Italian novel Il disprez­zo (A Ghost at Noon) by Alberto Moravia.[6] It stars Brigitte Bardot, Michel Piccoli, Jack Palance, and Giorgia Moll.

Paul Javal, a young French play­w­right who has found com­mer­cial suc­cess in Rome, accepts an offer from vul­gar American pro­du­cer Jeremy Prokosch to rework the script for German direc­tor Fritz Lang’s screen adapt­a­ti­on of the Odyssey.

Paul’s wife, Camille Javal, joins him on the first day of the pro­ject at Cinecittà. As the first dis­cus­sions are com­ple­ted, Prokosch invi­tes the crew to join him at his vil­la, offe­ring Camille a ride in his two-seat sports­car. Camille looks to Paul to decli­ne the offer, but he sub­mis­si­ve­ly with­draws to fol­low by taxi, lea­ving Camille and Prokosch alo­ne. Paul does not catch up with them until 30 minu­tes later, explai­ning that he was delay­ed by a traf­fic acci­dent. Camille grows unea­sy, secret­ly doubting his hones­ty and suspec­ting that he is using her to cement his ties with Prokosch. Her mis­gi­vings are heigh­ten­ed when she sees Paul gro­pe Prokosch’s secre­ta­ry, Francesca. Back at their apart­ment, Paul and Camille dis­cuss the subt­le unea­si­ness that has come bet­ween them in the first few hours of the pro­ject, and Camille sud­den­ly announ­ces to her bewil­de­red hus­band that she no lon­ger loves him.



FR. 1963, 105 Min., frz. OmU
Regie: J.-L. Godard
Kamera: Raoul Coutart
mit: Michel Piccoli, Brigitte Bardot, Jack Palance, Fritz Lang, Francesca Vanini, Georgia Moll

DIE VERACHTUNGLE MÉPRIS | Trailer / Deutsch | Jean-Luc Godard | ARTHAUS
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A film by Philip Scheffner. In French an Arabic with German subtitles.

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Previously acclai­med for his essay­i­stic docu­men­ta­ries, Philip Scheffner has now ven­tu­red into fic­tion. Zohra, play­ed by Rhim Ibrir, alre­a­dy fea­tured in Scheffner’s HAVARIE (Berlinale Forum 2016), is living in a town in sou­thwes­tern France. She has a seve­re case of sco­lio­sis. Volker Sattel’s came­ra­work exami­nes X‑rays, fol­lows Zohra to the hos­pi­tal and to an indoor swim­ming pool for rehab and sits right next to her or behind her on the bus. The images are crisp and floo­ded with sum­mer light, the sen­se of place and space is so pre­cise that we know each of the bus stops along her way: first Poste, then Piscine, then Europe.
When Zohra’s con­di­ti­on impro­ves, her resi­dence per­mit is not rene­wed, so she has to go back to Algeria. Her case worker shrugs his should­ers: it’s out of his hands, he says, not­hing he can do about it. A fade to black marks a tur­ning point in the sto­ry, after which the heroi­ne dis­ap­pears from view. Scheffner con­ti­nues to vary this game of the visi­ble and the invi­si­ble for a while until dream and ever­y­day rea­li­ty fuse in the sum­mer heat and gla­ring sun­light to crea­te a shim­me­ring nar­ra­ti­ve in the sub­junc­ti­ve. (Cristina Nord)


DE/FR 2022, 105 Min., Französisch, Arabisch OmU,
Regie: Philip Scheffner
Kamera: Volker Sattel.
Schnitt: Philip Scheffner

Mit: Rhim Ibrir, Thierry Cantin, Didier Cuillierier, Sadya Bekkouche

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Ballade von der weißen Kuh

a film by Behtash Sanaeeha, Maryam Moghaddam. 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.


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

Ballad of a White Cow (Ghasideyeh gave sefid) new clip offi­ci­al from Berlin Film Festival 2021
Im Kino mit deut­schen Untertiteln
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First Cow

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

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The waters of a river flow pla­cid­ly by. On its banks, time rewinds, brin­ging buried sto­ries to light. At the begin­ning of the 19th cen­tu­ry, fur trap­pers are not the only ones to ven­ture into the wilds of Oregon; there’s also a taci­turn cook, a loner who finds an able entre­pre­neur and fri­end in a Chinese immi­grant. The two start a small trade in “oily cakes”, which turns out to be a gre­at suc­cess in the rough West. The only catch: the raw mate­ri­al they use is acqui­red ille­gal­ly. Director Kelly Reichardt co-wro­te the screen­play with Jonathan Raymond, aut­hor of the novel upon which the film is based. First Cow con­firms her talent for tel­ling sto­ries of an America fil­led with pro­mi­se, far from the big cities. Like a Western, the film pays tri­bu­te to cha­rac­ters on the mar­gins of socie­ty who must take desti­ny into their own hands – only here, ins­tead of guns, there’s a spoon­ful of honey and a pail of milk. Thus, the­se out­laws pre­sent the fron­tier, that screen onto which America pro­jects its natio­nal dreams, not as a place of eco­no­mic or mate­ri­al con­quest, but as a mee­ting place. A sple­ndid alter­na­ti­ve sce­na­rio, which today acqui­res par­ti­cu­lar civil and poli­ti­cal significance.


US 2019, 122 Min., engl. OmU
Regie: Kelly Reichardt
Kamera: Christopher Blauvelt
mit: John Magaro, Orion Lee, Toby Jones, Scott Shepherd, Gary Farmer, Lily Gladstone


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Kunst kommt aus dem Schnabel wie er gewachsen ist

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

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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:


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)


ab 12. August 2021

Trailer (vor­läu­fig):

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

La Flor

A film by Mariano Llinás.  In seve­ral lan­guages with German subtitles.

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A film that pays tri­bu­te to the histo­ry of cine­ma, via six epi­so­des inspi­red by the dif­fe­rent forms of cine­ma­tic art. Each epi­so­de has a gen­re. The first epi­so­de could be regard­ed as a B movie, the kind that Americans used to shoot with their eyes clo­sed and now just can’t shoot any­mo­re. The second epi­so­de is a sort of musi­cal with a touch of mys­tery. The third epi­so­de is a spy movie. The fourth epi­so­de is dif­fi­cult to descri­be. The fifth one is inspi­red by an old French film. The last one is about some cap­ti­ve women in the 19th cen­tu­ry who return from the desert, from the Indians, after many years.


AR 2018,  808 Min.,  (Akt 1: 167 Min., Akt 2: 59 Min., Akt 3: 106 Min., Akt 4: 112 Min., Akt 5: 126 Min., Akt 6: 99 Min., Akt 7: 117 Min., Akt 8: 107 Min.), Spanisch/Französisch/Englisch/Russisch/Deutsch/Schwedisch/Italienische OmU,
Regie: Mariano Llinás
Kamera: Agustín Mendilaharzu
Schnitt: Alejo Moguillansky, Agustín Rolandelli

mit Elisa Carricajo, Pilar Gamboa, Valeria Correa, Laura Paredes


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A film by Jonah Hill.  In English with German subtitles.

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Stevie is 13, but looks a lot youn­ger. As always, it is sum­mer­ti­me in L.A. and Stevie is despe­ra­te to hang out with the big boys. At home his older brot­her tyran­ni­s­es him; his sin­gle mother is rare­ly the­re. When Stevie meets a group of cool dudes at the local skate­board shop, ever­y­thing chan­ges: the Ninja Turtles pos­ter is repla­ced by a pin-up girl, he beg­ins prac­ti­cing skate­boar­ding at night in front of the house and it is not long befo­re Stevie smo­kes his first cigarette.
Actor Jonah Hill (The Wolf of Wall Street) has paid gre­at atten­ti­on to detail in order to resur­rect the 1990s for his direc­to­ri­al debut. His sto­ry of a teenager’s dif­fi­cult search for reco­gni­ti­on and the right fri­ends unfolds with gre­at ease and ple­nty of music. Replete with mix­tapes, VHS cam­cor­ders, Nintendo PlayStations and a good dose of nost­al­gia, Hill’s 16mm film takes us into the world of a boy who is test­ing his limits and is in dan­ger of gro­wing up too quick­ly. And on the sound­track, in addi­ti­on to film music sup­pli­ed by Trent Reznor (Nine Inch Nails) and Atticus Ross, we are trea­ted to the songs of Nirvana, The Mamas & the Papas, Cypress Hill, Souls of Mischief and Seal.


US 2018, 85 Min., engl. OmU
Regie, Buch: Jonah Hill
Kamera: Christopher Blauvelt
Montage: Nick Houy
mit: Sunny Suljic, Katherine Waterston, Lucas Hedges, Na-Kel Smith, Olan Prenatt 


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