Category Archives: online

The other Side of the River

a film by Antonia Kilian. In Arabic, Kurdish and German with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Combat trai­ning ins­tead of forced mar­ria­ge and IS? 19-year-old Hala escapes from Minbij in North Syria across the Euphrates and ends up in the Kurdish mili­ta­ry. After her trai­ning she returns to her home­town as a poli­ce offi­cer with the inten­ti­on of saving her youn­ger sisters.


DE/FI 2021, 92 Min., Arabisch, Kurdisch, Deutsch mit deut­schen Untertiteln
Regie: Antonia Kilian
Kamera: Antonia Kilian
Ton: Nadya Derwish
Schnitt: Arash Asadi

The Other Side Of The River | offi­zi­el­ler deut­scher Trailer
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First Cow

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

[Credits] [Tickets & Termine] [Trailer]

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.

[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:


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.

[indie­ki­no Club] [Credits] [Termine] [Trailer]

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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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.



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

Right now, wrong then

Ein Film von Hong Sang-soo.

Es hat nicht sol­len sein.“ Was retro­spek­tiv über vie­le Beziehungen gesagt wird, die schei­tern bevor sie rich­tig begon­nen haben, trifft auch auf das Verhältnis Ham Chun-su und Yoon Hee-jung zu. Er ist Regisseur und wegen einer Filmvorführung in Suwon. Dummerweise reist er einen Tag zu früh an und lernt zufäl­lig die Künstlerin Hee-jung ken­nen. Die bei­den ver­brin­gen den Tag zusam­men, besu­chen ihr Atelier, essen Sushi, trin­ken Soju und gehen am Abend mit Freundinnen aus. So kom­men sie ein­an­der näher, Continue rea­ding