Category Archives: online

Die Zähmung der Bäume – Taming the Garden

a film by Salomé Jashi. In Gerogian with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

A power­ful man, who is also the for­mer prime minis­ter of Georgia, has deve­lo­ped an exqui­si­te hob­by. He collects cen­tu­ry old trees along Georgia’s coast­li­ne. He com­mis­si­ons his men to uproot them and bring them to his pri­va­te gar­den. Some of the­se trees are as tall as 15-floor-buil­dings. And in order to trans­plant a tree of such dimen­si­ons some other trees are chop­ped down, electric cables are shifted and new roads are paved through man­da­rin plantations.

The film moves the con­cept of uproo­ting from its meta­pho­ri­cal mea­ning into an opp­res­si­ve, tan­gi­ble and yet sur­re­al reality.

Credits:

CH/DE/GE 2021, 92 Min., geor­gi­sche OmU
Regie und Buch: Salomé Jashi

Kamera: Goga Devdariani, Salomé Jashi
Schnitt: Chris Wrightenn

Trailer:
nach oben

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.

Zombi Child

A film by Bertrand Bonello. In French with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Haiti, 1962. A man is brought back from the dead only to be sent to the living hell of the sug­arca­ne fiel­ds. In Paris, 55 years later, at the pres­ti­gious Légion d’honneur boar­ding school, a Haitian girl con­fes­ses an old fami­ly secret to a group of new friends – never ima­gi­ning that this stran­ge tale will con­vin­ce a heart­bro­ken class­ma­te to do the unthinkable.

Credits:

FR 2019, 103 Min.,| fran­zö­si­sche OmU
Buch & Regie: Bertrand Bonello
Kamera: Yves Cape
Schnitt: Anita Roth
mit: Louise Labeque, Wislanda Louimat, Mackenson Bijou, Adilé David

Trailer:

Zombi Child (offi­zi­el­ler Trailer) von Bertrand Bonello

Nina Wu

A film by Midi Z. In Chinese (Mandarin) with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

After eight years toi­ling in bit-parts, aspi­ring actress Nina Wu final­ly gets her big break with a lea­ding role in a spy thril­ler set in the 1960s. The part is chal­len­ging, not least becau­se it calls for full nudi­ty and expli­cit sex sce­nes, and the film’s direc­tor is often hard on her. But both the indus­try and the press are con­fi­dent that the results are sen­sa­tio­nal­ly good. On the brink of tri­umph, though, Nina’s psy­cho­lo­gi­cal resol­ve begins to crack. She rus­hes back to her fami­ly home to deal with two cri­ses: her father’s busi­ness has gone bankrupt and her mother has suf­fe­red a heart attack. She dreams of rekind­ling a clo­se rela­ti­ons­hip with her child­hood friend Kiki but is haun­ted by para­no­id fan­ta­sies that a mys­te­rious woman is stal­king and attacking her. As Nina clings to memo­ries of hap­pier times, it seems that the­re is one cru­cial memo­ry that she is repressing…

 

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Credits:

Juo ren mi mi
Taiwan 2019, 103 Min., chin. (man­da­rin) OmU
Regie: Midi Z
Drehbuch: Wu Ke-xi
Kamera: Florian Zinke
mit: Wu Ke-xi, Vivian Sung, Kimi Hsia, Ming-Shuai Shih

Termine:

  • noch keine 

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Trailer:

nach oben

Der See der wilden Gänse

A film by Diao Yinan. In Chinese with German Subtitles.

[Credits] [Trailer]

A dazz­ling neo noir by the direc­tor of BLACK COAL,THIN ICE. Zhou Zenong, only recent­ly released from pri­son, has to go on the run again, after a poli­ce­man is kil­led during a gang gathe­ring. Only the pro­sti­tu­te Lia Aiai is hel­ping him. Unless she …

Tom Dorow | indiekino.de

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Credits:

Nan fang che de ju hui
China 2019, 113 Min., chin. OmU
Regie: Diao Yinan
Drehbuch: Diao Yinan
Kamera: Dong Jingsong
Schnitt: Kong Jinlei
mit: Liao Fan, Huang Jue, Kwai Lun-Mei, Regina Wan

Termine:

  • noch keine 

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Trailer:

THE WILD GOOSE LAKE – Official Trailer

Screenings with German subtitles..

nach oben

Bonjour Paris – Jeune Femme

A film by Léonor Sérraill. In french with ger­man subtitles.

Paula cau­ses trou­ble whe­re­ver she turns up. The 31-year-old just cut herself on her ex-boyfriend’s locked apart­ment door. With no money and no job she finds herself on the streets of Paris, Persian cat in arms. Rejected by her mother, Paula sets off on an odys­sey through a city to which she has only just retur­ned after a trip abroad. A friend­ly stran­ger, a com­ple­te­ly unfit­ting job in a depart­ment store and a smart girl help her get back on her feet again. Life, howe­ver, has alrea­dy plan­ned the next sur­pri­se. Léonor Seraille’s direc­to­ri­al debut sees the main character’s unstopp­a­ble ener­gy super­b­ly expres­sed by Laetitia Dosch. This gem of a dra­me­dy recei­ved the Caméra d’Or at Cannes.

 
Credits:
OT: Jeune Femme
Frankreich 2017, 97 Min., frz. OmU
Regie: Léonor Sérraill
Kamera: Émilie Noblet
Schnitt: Clémence Carré
mit:
Laetitia Dosch
Grégoire Monsaingeon
Souleymane Seye Ndiaye
Léonie Simaga
Nathalie Richard
 
Termine:

  • noch kei­ne oder kei­ne mehr 

 

Rerun: Two King Hu Films

We have two WUXIA-Classics by King Hu in our Programm:

DRAGON INN, Tsao, the emper­or’s first eunuch, has suc­cess­ful­ly bes­ted General Yu, his poli­ti­cal oppo­nent. The gene­ral was behea­ded and his remai­ning child­ren have been exi­led from China. As the child­ren are being escor­ted to the wes­tern bor­der of the Chinese empi­re, Tsao plots to have the child­ren kil­led. Tsao’s secret poli­ce lie in ambush at the deso­la­te Dragon Gate Inn. Martial arts expert Hsiao shows up at the inn, wan­ting to meet the inn­kee­per. Unknown to the secret poli­ce is that the inn­kee­per, Wu Ning, was one of the gene­ral’s lieu­ten­ants and has sum­mo­ned Hsiao to help the child­ren. A bro­ther-sis­ter mar­ti­al-artist team (child­ren of ano­t­her Yu lieu­ten­ant) also show up to help. These four race to find Yu’s child­ren and lead them to safety.

 

A TOUCH OF ZEN,

The sto­ry is lar­ge­ly seen through the eyes of Gu, who is a well-mea­ning but unam­bi­tious scho­l­ar and pain­ter, with a ten­den­cy towards being clum­sy and inef­fec­tu­al. A stran­ger arri­ves in town wan­ting his por­trait pain­ted by Gu, but his real objec­ti­ve is to bring a fema­le fugi­ti­ve back to the city for exe­cu­ti­on on behalf of the East Chamber guards. The fugi­ti­ve, Yang, is befrien­ded by Gu and tog­e­ther they plot against the cor­rupt Eunuch Wei who wants to era­di­ca­te all trace of her fami­ly after her father attempts to warn the Emperor of the eunu­ch’s cor­rup­ti­on. His daugh­ter fled, and Abbot Hui inter­ven­ed to pro­tect them.

The stran­ger, Yang and her friends are all supe­ri­or war­ri­ors. The stran­ger has a spe­cial fle­xi­ble sword that bends and that he can wear wit­hin his belt, making him seem unarmed.

One of the uni­que aspects of the film is that Gu is a non-com­ba­tant all the way through the film and only beco­mes invol­ved when he sleeps with Yang. Upon doing so, he is no lon­ger the naï­ve bumb­ling inno­cent, but ins­tead beco­mes con­fi­dent and asser­ti­ve, and when Yang’s plight is reve­a­led, he insists on being part of it – and even comes up with a fien­dish „Ghost Trap” for the East Chamber guards. This is a plan to use a sup­po­sed­ly haun­ted site to play tricks on the guards to make them belie­ve they are prey to the undead. He first spreads rumours of ghosts, with his mother play­ing a part. The film then brief­ly uses split-screen with six sepa­ra­te views to show the spread of the­se rumours.

In the after­math, Gu walks through the car­na­ge laug­hing at the inge­nui­ty of his plan until the true cost of human life dawns upon him. He sees Abbot Hui and his fol­lo­wers arri­ve to help bury the dead.

After the batt­le, Gu is unab­le to find Yang, who he is told has left him and does not want him to fol­low her. He tracks her down at the monas­te­ry of the saint­ly and power­ful Abbot Hui Yuan, whe­re she has given birth to a child by Gu and beco­me a nun. She tells Gu that their desti­ny tog­e­ther has ended and gives Gu their child. Later, when Gu and the child are tra­cked down by Hsu Hsien-Chen, the evil com­man­der of Eunuch Wei’s army, Yang and Abbot Hui come to Gu’s res­cue. In the ensuing batt­le, Hsu is kil­led and Yang and Abbot Hui are bad­ly inju­red (the lat­ter blee­ding gol­den blood). The film famous­ly ends with the inju­red Yang stag­ge­ring towards a sil­hou­et­ted figu­re, pres­um­a­b­ly Abbot Hui, seen medi­ta­ting with the set­ting sun forming a halo around his head, an image sug­ges­ting the Buddha and enlightenment.

 

DRAGON INN (Die Herberge zum Drachentor | 龍門客棧 / 龙门客栈 Lóngmén Kèzhàn) TW 1967 111 Min. OmU

A TOUCH OF ZEN (Ein Hauch von Zen | 俠女 Hsia Nu) TW 1971 180 Min. OmU

Trailer Dragon Inn

Trailer A Touch of Zen

Chevalier

Ein Film von Athina Tsangari.

Mitten im Ägäischen Meer, beschlies­sen sechs Männer, die auf einer Luxusjacht ein Fischerausflug machen, ein Spiel zu spie­len: „Der bes­te in allem”. Bei die­sem Spiel wird ver­gli­chen. Dinge wer­den gemes­sen und gegen­über­ge­stellt. Es wer­den Lieder zer­fetzt, Blut getes­tet. Freunde wer­den zu Gegnern. Aber zum Schluss der Reise, als das Spiel zu Ende ist, wird der Gewinner zum bes­ten Mann gekürt. Er wird am klei­nen Finger den Ring des Sieges tra­gen: den Chevalier.Der Film ist eigent­lich kei­ne aus­ge­wie­se­ne Komödie, aber ich muß­te die gan­ze Zeit vormichhinglucksen.

Die Männlichkeitsrituale des Fischens, Spielens und Härtezeigens ste­hen dabei in einem aber­wit­zi­gen Kontrast zum eigent­li­chen Setting von Athina Rachel Tsangaris Chevalier: Das Schiff ist eine veri­ta­ble com­fort zone, inklu­si­ve Koch und Diener. Wir sehen die arri­vier­ten Männer brav beim Saugen und Wischen. Doch als beim Dinner unter frei­em Himmel die abend­li­che Frische ein­setzt, frie­ren die Freunde lie­ber kol­lek­tiv, als dass einer von ihnen zuge­ben wür­de, dass es zu kalt ist. Keine Schwäche zu zei­gen, die­ses schein­ba­re Urgesetz der männ­li­chen Sozialisation ver­hin­dert alle Empathie und macht ein sozia­les Leben, das die­sen Namen ver­die­nen wür­de, unmög­lich. ” Johannes Bluth bei critic.de

Athina Rachel Tsangari stu­diert die­se Männer wie eine Verhaltensforscherin. In Attenberg (2010) bau­te sie eine Hommage an den Tierfilmer Sir Richard Attenborough ein, nun macht sie einen wei­te­ren Schritt in die Richtung einer Komik, die Ethologie als Parawissenschaft für einen recht merk­wür­di­gen Tonfall pro­duk­tiv macht. Denn Chevalier gibt bereits mit sei­nem Titel zu erken­nen, dass es hier dar­um geht, eine erns­te Situation auf ein Spiel zu set­zen. Die Situation, das sind die aus­ge­spar­ten Verhältnisse in der Wirklichkeit, das Spiel sind die teils absur­den Formen, in denen die Männer, alle im soge­nann­ten bes­ten Alter, mit­ein­an­der kon­kur­rie­ren.” Bert Rebhandl in derstandard.at

Griechenland 2015, 99 Min., gr. OmU
Regie: Athina Tsangari
Kamera: Christos Karamanis
Schnitt: Matt Johnson, Yorgos Mavropsaridis
mit: Makis Papadimitriou , Nikos Orfanos , Sakis Rouvas , Vangelis Mourikis , Yorgos Kentros , Yiannis Drakopoulos , Yorgos Pirpassopoulos , Panos Koronis , Kostas Philippoglou

 

35 Rum

Sorry, this ent­ry is only avail­ab­le in German.

[indie­ki­no Club]

Lionel (Alex Descas), ein Zugführer aus einer Pariser Vorstadt, hat sich sein Leben lang auf­op­fernd um sei­ne Tochter geküm­mert. Er weiß, dass Joséphine (Mati Diop) nun alt genug ist, um auf eige­nen Füßen zu ste­hen, doch er will sie nicht ver­lie­ren, und auch Joséphine scheint noch nicht bereit, ihr gebor­ge­nes Zuhause zu ver­las­sen.
Zu ihren Nachbarn gehö­ren die Taxifahrerin Gabrielle (Nicole Dogué), deren zag­haf­te Bemühungen, sich mit Vater und Tochter anzu­freun­den, auf wenig Gegenliebe sto­ßen, und Noé (Grégoire Colin), der sei­ne Wohnung in exakt dem Zustand belas­sen hat, wie sie ihm sei­ne ver­stor­be­nen Eltern ver­erbt haben.

Claire Denis hat­te mehr als schö­ne Momente zu bie­ten. Ihr „35 rhums“ lief aber (beim Filmfestival in Venedig) außer Konkurrenz. Es ist die Geschichte des Zugführers Lionel, der sei­ne Tochter allein auf­ge­zo­gen hat. Beide wis­sen, dass die gemein­sa­me Zeit zu Ende geht, weil Josephine erwach­sen gewor­den ist. Claire Denis beob­ach­tet gelas­sen ihren Alltag, die getrenn­ten Stunden wäh­rend der Arbeit, führt Kollegen ein und Freunde und bewegt sich mit den Figuren durch die Vorstädte von Paris, als sei­en sie die gan­ze Welt. (…) allein für die Szene, in der Vater, Tochter und ein paar Freunde mit Fremden in einer Bar zu trin­ken und zu tan­zen begin­nen und Claire Denis die ver­schie­de­nen Arten zu lie­ben ein­fängt, allein dafür hat sich das hal­be Festival schon gelohnt.“ Verena Lueken / FAZ

35 Rhums
D / Fr. 2008
105 Min., frz. OmU

R.: Claire Denis

D.: Alex Descas,
Mati Diop,
Grégoire Colin,
Nicole Dogué,
Julieth Mars-Toussaont,
Jean-Christophe Folly,
Ingrid Caven