Struggling with his profession as a teacher, Ugyen is sent to Lunana in northern Bhutan for his final year of training. With a warm welcome, the local children try to win him over but they do not have much time.
Lulana
Credits:
BT/CN 2021, 109 Min., Dzongkha OmU Buch und Regie: Pawo Choyning Dorji Schnitt: Hsiao-Yun Ku Kamera: Jigme Tenzing mit: Sherab Dorji, Ugyen Norbu Lhendup, Pem Zam, Kelden Lhamo Gurung
In der Kreisstadt Bobo-Dioulasso, in der Nähe von Burkina Fasos Hauptstadt Ouagadougou, geben Sexarbeiterinnen ihren Nachwuchs in die Obhut von Frau Coda, einer älteren Dame, die sich seit Jahrzehnten um Kinder kümmert, deren Mütter nachts auf der Straße ihr Geld verdienen. Dem Filmemacher Moumouni Sanou ist es über die Jahre gelungen, das Vertrauen aller Beteiligten zu gewinnen und einen tiefen Einblick in das Leben von Odile und Farida zu bekommen, die beide auf die Dienste von Frau Coda angewiesen sind. Zärtlich und sehr genau beobachtet er alle Aspekte ihres Lebens, Hausarbeit, Freizeit, intime Momente des Mutterseins, auch ihre Beziehung zu Frau Coda und wie diese ihre Kinder erzieht. Im Mittelpunkt des Films stehen die Erfahrungen von Frauen. Männer und Väter sind abwesend, außer in den mal amüsanten, mal zutiefst erschütternden Geschichten, die Farida und Odile von ihrer Arbeit erzählen. Sanous zurückhaltender, respektvoller Blick macht die Vorzüge horizontalen Filmemachens deutlich, das sich durch größtmögliche Aufmerksamkeit und Sensibilität den Protagonisten gegenüber auszeichnet.
Night Nursery
Credits:
Garderie nocturne UV/FR/DE 2021, 67 Min., Dioula OmU, Regie Moumouni Sanou Kamera: Pierre Laval Schnitt: François Sculier mit: Odile Kambou, Fatim Tiendrebeogo
16-year-old Peyangki has lived as a monk in a monastery in the mountains of Bhutan since early childhood. His smartphone is the connection to the world, in it he has seen everything – and he has fallen in love. He met Nguen on WeChat, the Chinese facebook. For months, the two exchange messages day and night, Peyangki sings for her, she reveals her wishes and hopes for the future. It is first, total love that changes everything and turns the life of a teenager upside down.
He forgot that he wanted to make money; forgot that he wanted to return from the monastery to his family. Now he wants to go to town, and meet Nguen – because so far they’ve only met virtually. „Sing Me a Song” will accompany the young monk on his journey to the capital and his first meeting with Nguen.
Sing Me a Song
Credits:
FR/DE/CH 2019, 90 Min., Dzongkha OmU, Regie & Kamera: Thomas Balmès, Schnitt: Alex Cardon, Ronan Sinquin
“What must a woman have been through for her to simply not have a role in her family any longer?” Through Super‑8 and video material that her father had painstakingly collected, Melanie Lischker tells the story of her mother and, with it, that of an entire generation.
Credits:
DE 2021, 78 Min, , Regie & Buch: Melanie Lischker, Kamera: Thomas Lischker, Melanie Lischker, Schnitt: Mechthild Barth, Melanie Lischker
Set in Montana in the 1920s, Jane Campion’s hotly anticipated new film is an enthralling revisionist western awash in sublime expanses and nuance, capturing a landscape and a people driven by the fantasy and folly of western expansion. Adapted from Thomas Savage’s cult novel of the same name, The Power of the Dog tells the story of successful rancher brothers George (Jesse Plemons) and Phil (Benedict Cumberbatch) Burbank, whose relationship sours when the more mild-mannered George marries local widow Rose (Kirsten Dunst).
Rose and her son Peter (Kodi Smit-McPhee) arrive at the Burbank ranch — seemingly wholesome and naïve — and attempt to fit into the family’s complex dynamic of new money, but are continually stymied by an unspoken brotherly bond. Phil’s past as a classics scholar at Yale is barely discernible as he sports a tough and dirty exterior, while frequently referring to the antics of his mentor Bronco Bill. Cumberbatch shines in this ferocious performance as a cowboy to the core, whose hurtful, macho quips toward Peter and his mother hint at a simmering menace and a capacity for erratic cruelty and violence; a kind of camouflage that only serves to repress deep-seated trauma and latent desire.
Proving once again that she is one of today’s greatest filmmakers, Campion delivers a fascinating study of masculinity and internal torment, subverting the codes of the western — and of the male gaze — in a universe that is always shifting in tone, rendered with stunning cinematography by Ari Wegner, a disorienting score by Jonny Greenwood, and a terrific ensemble cast.
The Power of the Dog
Credits:
NZ/AU 2021, 126 Min, engl. OmU Regie: Jane Campion Kamera: Ari Wegner Schnitt: Peter Scibberas mit: Benedict Cumberbatch Jesse Plemons Kirsten Dunst Kodi Smit-McPhee
Abla runs a popular bakery in the narrow streets of Casablanca’s old town. Mother of eight-year-old Warda, the widowed forty-something is facing a busy day-to-day life. When her routine is broken by a knock on the door, she is still unaware that her life is about to change forever. On the doorstep stands Samia, a pregnant young woman asking for a place to stay in exchange for help around the house and in the bakery. While Abla does not want to engage with this stranger promising nothing but trouble, little Warda immediately takes to Samia. One night turning into several, the coolly detached Abla increasingly fails to hide the fact that Samia is an unexpected asset to her bakery business as well as her entire life. Adam is a bittersweet drama, carried by the exceptional Belgian-Moroccan star actress Lubna Azabal.
Adam
Credits:
MA/FR 2019, 98 Min., arab. OmU Regie: Maryam Touzani Kamera: Adil Ayoub Schnitt: Julie Naas mit: Douae Belkhaouda, Aziz Hattab, Hasna Tamtaoui u. a.
2021 has been an annus mirabilis for Ryusuke Hamaguchi, who has premiered two feature films, both very different, both equally masterly. After the thematically connected triptych of WHEELOFFORTUNEANDFANTASY, Hamaguchi delves into more expansively novelistic territory, although the source is a short story by Haruki Murakami. An extended preface introduces us to a Tokyo couple, actor and director Yusuke and screenwriter Oto, whose penchant for erotic storytelling hints at possibilities that will continue to trouble Yusuke. Two years later, he arrives in Hiroshima to direct Chekhov’s Uncle Vanya at a theatre festival and is assigned a young woman named Misaki as his driver. After a troubled rehearsal process and Yusuke’s problems with a troublesome young actor, Yusuke and the initially reserved Misaki begin to communicate. A three-hour running time allows Hamaguchi to unspool a subtly, densely patterned narrative to maximum effect, with Chekhov’s drama subliminally resonating as a background subtext. Quietly moving, intellectually involving, DRIVEMYCAR is arguably the most mature and most elegant drama of 2021. (Jonathan Romney)
After Nikola’s wife has attempted suicide, the casual labourer’s two children are taken away from him and placed with foster parents. A temporary arrangement, it is alleged. However, following an assessment of Nikola’s housing conditions, the head of the social welfare office in their small Serbian village decides that Nikola is too poor to provide an adequate living environment for his children. The reticent Nikola decides to lodge a complaint with the Ministry of Social Affairs in Belgrade. He is determined to cover the 300 kilometres to the capital on foot. In this way, he intends to show the authorities how far he is willing to go for his children – literally. Srdan Golubović finds authentic, moving images to tell this tale of inequality. His quiet but resilient protagonist explores not only the country, but also the boundaries between right and wrong. Resolved not to give in to his mounting desperation, this tenacious father embarks on a heroic journey that redefines the word hero.
Vater – Otac
Credits:
RS, FR, DE, SL, HR, BA 2020, 99 Min., serbische OmU Regie: Srdan Golubovic Drehbuch: Srdan Golubovic, Ognjen Svilicic Kamera: Aleksandar Ilić Schnitt: Petar Marković mit: Goran Bogdan, Boris Isaković, Nikola Rakocevic, Milan Maric Länge: 99 Minuten
Trailer:
Father (Otac) (2020) | Trailer | Goran Bogdan | Boris Isakovic | Nada Sargin | Srdan Golubovic
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.
Die Zähmung der Bäume – Taming the Garden
Credits:
CH/DE/GE 2021, 92 Min., georgische OmU Regie und Buch: Salomé Jashi Kamera: Goga Devdariani, Salomé Jashi Schnitt: Chris Wrightenn
In post-war Germany Hans is imprisoned again and again for being homosexual. Due to paragraph 175 his desire for freedom is systematically destroyed. The one steady relationship in his life becomes his long time cell mate, Viktor, a convicted murderer. What starts as revulsion grows into something called love.
Credits:
Deutschland/Österreich 2021, 116 Min. Regie: Sebastian Meise Kamera: Crystel Fournier Schnitt: Joana Scrinzi Buch: Thomas Reider & Sebastian Meise mit: Franz Rogowski, Georg Friedrich, Anton von Lucke, Thomas Prenn
Trailer:
Große Freiheit – offizieller Kinotrailer – Kinostart am 18.11.2021
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