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Ein Film von Christos Nikou. In Greek with German subtitles.

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Amidst a world­wi­de pan­de­mic that cau­ses sud­den amne­sia, midd­le-aged Aris (Aris Servetalis) finds hims­elf enrol­led in a reco­very pro­gram desi­gned to help unclai­med pati­ents build new iden­ti­ties. Prescribed dai­ly tasks on cas­set­te tapes so he can crea­te new memo­ries and docu­ment them on came­ra, Aris slides back into ordi­na­ry life, mee­ting Anna (Sofia Georgovasili), a woman who is also in reco­very. Through images dead­pan, stran­ge and sur­re­al, Greek wri­ter-direc­tor Christos Nikou posits a begui­ling reflec­tion on memo­ry, iden­ti­ty, and loss, explo­ring how a socie­ty might hand­le an irrever­si­ble epi­de­mic through one man’s sto­ry of self-dis­co­very. Are we the sum of the images we com­pi­le and dis­play of our­sel­ves, or are we some­thing richer, and deeper?

Credits:

Mila
GR 2020, 90 Min., grie­chi­sche OmU,
Regie & Kamera: Christos Nikou
Schnitt: Giorgos Zafeiris
mit: Aris Servetalis, Sofia Georgovasili, Anna Kalaitzidou, Argiris Bakirtzis

Trailer:

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A film by Michal Blaško. In Ukrainian and Czech with German subtitles.

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Irina (43), a sin­gle mother from Ukraine, lives with her son Igor (13) in a small Czech bor­der town. One night she dis­co­vers that Igor has been assaul­ted by three atta­ckers and her who­le world comes cras­hing down. When Igor wakes up from anaes­the­sia he claims that the atta­ckers were Roma. Since then Irina fights for jus­ti­ce and demands the socie­ty to rise up and punish the cul­prits. As times goes on, she beg­ins to spot incon­sis­ten­ci­es in his ver­si­ons of the attack. Ultimately, when the socie­ty is emo­tiona­ly moved by the attack, Igor admits to Irina that he made up the who­le sto­ry. The ensuing march against vio­lence, dedi­ca­ted to Igor and Irina as vic­tims, dete­rio­ra­tes into a vio­lent neo-Nazi cam­paign. When in the last moment Irina tri­es to call it off, she con­fronts the resis­tance of the mecha­nism and she’s to con­ti­nue what her son began, lie, and take part in the march as a vic­tim. The con­se­quen­ces are too seve­re for both to bear wit­hout con­se­quence or with a clear conscience.

Credits:

Obeť
CZ/DE/SK 2022, 91 Min., Ukrainisch/Tschechisch OmU,
Regie: Michal Blaško
Kamera: Adam Mach
Schnitt: Peter Hasalík
mit: Vita Smachelyuk, Gleb Kuchuk, Igor Chmela

Trailer:

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A film by Tarik Saleh. Starts April 6th at the fsk. In Arabic with German subtitles.

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Adam, the son of a fisher­man, is offe­red the ulti­ma­te pri­vi­le­ge to stu­dy at the Al-Azhar University in Cairo, the epi­cen­ter of power of Sunni Islam. Shortly after his arri­val in Cairo the university’s hig­hest ran­king reli­gious lea­der, the Grand Imam, sud­den­ly dies and Adam soon beco­mes a pawn in a ruthl­ess power strugg­le bet­ween Eqypt’s reli­gious and poli­ti­cal elite.

Credits:

Boy from Heaven
SE/FR/FI2022
121 Min., arab. OmU
Regie: Tarik Saleh
Kamera: Pierre Aïm
Schnitt: Theis Schmidt
mit: Tawfeek Barhom, Fares Fares, Mohammad Bakri, Makram J. Khoury

Trailer:

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A film by Maryam Touzani. In Arabic with German subtitles.

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In their fami­ly tail­or shop in the midd­le of a Moroccan old town, Halim and Mina craft cere­mo­ni­al caft­ans. Business is good, but when Mina falls ill and Halim can no lon­ger hand­le the ons­laught of cus­to­mers on his own, the mar­ried cou­ple deci­des to hire an assistant. The pre­sence of the attrac­ti­ve and reser­ved Youssef awa­kens long-sup­pres­sed fee­lings in Halim, which does­n’t go unno­ti­ced by Mina. As the rela­ti­onship bet­ween the two men inten­si­fies, Mina’s health dete­rio­ra­tes dra­sti­cal­ly. After ADAM, direc­tor Maryam Touzani returns to the ZFF with a bit­ters­weet dra­ma. Starring a ter­ri­fic Lubna Azabal, LE BLEU DU CAFTAN is a sen­su­al film about love as the dri­ving force of our existence.

Credits:

Le Bleu du Caftan
FR/MR/BE/DK 2022
124 Min., arab. OmU
Regie: Maryam Touzani
Kamera: Adil Ayoub
Schnitt: Nicolas Rumpl
mit: Lubna Aznabal, Saleh Bakri, Ayoub Missioui

Trailer:

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In German.

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Kim has her music. Kim has her dogs. Kim has her faith. Kim strug­gles, every day: with anxie­ty, for a bit of nor­ma­li­ty, to stand on her own two feet. Kim’s mother, Lore, was depor­ted to Auschwitz at the age of six. To this day, Lore is a DP, a dis­pla­ced per­son. Lore has her index cards. From mor­ning till night, she tran­scri­bes artic­les from the dai­ly news­pa­per, archi­ving them in boxes and bas­kets. All her life, Lore has been silent: about her mother, about the hiding place whe­re she sur­vi­ved, about Tom, her son, Kim’s brot­her, who took his own life. Kim ins­tead wants to talk: about her child­hood with Lore, about Tom, about the scar­red lives they both lead. There is a lot of anger, a lot of strength, and a love bet­ween mother and daugh­ter that was always the­re but could not be expressed.

Credits:

DE 2022, 81 Min.
Regie: Sandra Prechtel
Kamera: Susanne Schüle
Schnitt: Andreas Zitzmann

Trailer:

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A film by Angela Schanelec. In Greek and English with German and English subtitles.

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The myth of Oedipus is the core of this mas­terful pie­ce of ellip­ti­cal sto­rytel­ling in which every detail, no mat­ter how small, beco­mes a sign – or not. This is a film that trans­ports us from the moun­ta­ins and bea­ches of Greece to the lakes of Berlin, and from some­time in the 1980s to the pre­sent day. In bet­ween, the­re is one date that can be ascer­tai­ned: 2006 (fea­turing foot­ball and two decisi­ve minu­tes for Italy).
A new­born baby boy is res­cued from a storm one night. Paramedic Elias and his wife take him in, name him Jon, and rai­se him. As a young man, Jon is atta­cked and com­mits mans­laugh­ter. The vic­tim is none other than … During his inc­ar­ce­ra­ti­on, Jon and a fema­le pri­son offi­cer named Iro beco­me a cou­ple. The tape recor­der is play­ing baro­que music: the play­list includes Monteverdi, Bach, Pergolesi. The aes­the­tics of this music deve­lop into the film’s informing prin­ci­ple, reflec­ting events in a lucid­ly enig­ma­tic and con­cre­te­ly abs­tract way that revels in its own austeri­ty. In Angela Schanelec’s baro­que-post­mo­dern cine­ma, for­mu­las from the doc­tri­nes of the affec­tions and figu­res app­ly. An addic­ti­ve intellec­tu­al-sen­su­al chall­enge that allows us to blind­ly see.

Berlinale 2023 – Competition

Credits:

Deutschland / Frankreich / Serbien 2023, 108 Min., Griechisch, Englisch OmU
Regie, Buch & Schnitt: Angela Schanelec
Kamera: Ivan Marković
mit Aliocha Schneider, Agathe Bonitzer, Marisha Triantafyllidou, Argyris Xafis, Frida Tarana

Trailer:

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A film by Christian Petzold. In German with English subtitles.

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Leon and Felix’s plan was to spend the sum­mer tog­e­ther in a holi­day home on the Baltic coast. They wan­ted to be the­re as fri­ends but also to work – one on his second book, the other assembling his art port­fo­lio. But Nadja and Devid are also the­re, and they bring lots of posi­ti­ve vibes with them. Four young peo­p­le expe­ri­men­ting with love, even though this does not come easy to Leon. His unfi­nis­hed manu­script haunts him whe­re­ver he goes, whe­ther he is at the sum­mer­house or the beach. The others’ good mood often cau­ses his to plum­met. A visit from his publisher is immi­nent. But, as the lat­ter arri­ves in his nif­ty small car, the forest beg­ins to bla­ze. It rains ash, the sky turns red, and a rela­ti­onship-dra­ma that mer­ges phy­si­cal inten­si­ty and artis­tic sub­li­ma­ti­on takes a turn into a new dimen­si­on.
This second part of Christian Petzold’s tri­lo­gy begun in 2020 with Undine, is about not being able to sleep and wan­ting to love; about wri­ting and being read; about being in the world and yet pos­si­bly allo­wing life to slip by. A film that is sus­pen­ded bet­ween sym­bo­lism and rea­lism, both fun­ny and deep­ly tragic.

Berlinale 2023 – Competition

Credits:

DE 2023, 103 Min., deut­sche OmeU
Regie: Christian Petzold
Kamera: Hans Fromm
Schnitt: Bettina Böhler
mit Thomas Schubert, Paula Beer, Langston Uibel, Enno Trebs, Matthias Brandt

Trailer:

Trailer ROTER HIMMEL

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Dieses Jahr wird bei uns mal wie­der ein roter Teppich vor der Tür lie­gen, denn wir haben die „Berlinale goes Kiez“ Sektion bei uns zu Gast. Wann? Am 22.2. Es gibt drei Filme die jeweils im bei­den Sälen par­al­lel gezeigt wer­den. Tickets bekommt man bei der Berlinale und ein paar Karten dür­fen wir auch im Kino ver­kau­fen. Wir sind gespannt, aber nicht ver­ges­sen: Das Kino gibt es auch ohne Berlinale.
Hier die Filme, die für uns aus­ge­wählt wurden:

Forum:
W Ukrainie – In Ukraine
Zerbombte Straßen, zer­stör­te rus­si­sche Panzer, Abendessen im U‑Bahn-Bunker: Bild für Bild tau­chen Tomasz Wolski und Piotr Pawlus unter die Oberfläche repro­du­zier­ba­rer Kriegsbilder – hin­ein in die Realität, in der das Land seit dem 24. Februar 2022 lebt.
Piotr Pawlus, Tomasz Wolski ∙
Polen, Deutschland ∙ Dokumentarische Form ∙ 85‚ ∙ Ukrainisch, Russisch
22.02. 15:30 fsk Kino (mehr)

Panorama:
Silver Haze
Franky ist Krankenschwester und kommt aus einer rau­en Gegend in Ostlondon. Als sie sich Hals über Kopf in ihre Patientin Florence ver­liebt, ver­än­dert das ihr Leben tief­grei­fend. Ein Film über Vergangenheitsbewältigung, sozia­le Herkunft und die Suche nach Zugehörigkeit. Sacha Polak ∙ Niederlande, Vereinigtes Königreich ∙ 103‚ ∙ Englisch 22.02. 18:00 fsk Kino (mehr)

Berlinale Classics:
Mapantsula
Ein klei­ner Ganove, der sich in Soweto durch­zu­schla­gen ver­sucht, gerät in den Sog der Anti-Apartheid-Bewegung. Ein län­ge­rer Gefängnisaufenthalt und der Druck der Polizei, Bürgerrechtler zu denun­zie­ren, mün­den in einen poli­ti­schen Bewußtwerdungsprozeß. An Originalschauplätzen gedreht, rückt der doku­men­ta­ri­sche Spielfilm auf span­nend-unter­halt­sa­me Weise die Rassendiskriminierung in ihrer all­täg­li­chen und all­ge­gen­wär­ti­gen Form in den Blickpunkt; ein Plädoyer gegen die Amerikanisierung des Landes und für bes­se­re Lebensbedingungen der Schwarzen.
Oliver Schmitz ∙ Südafrika, Australien, Vereinigtes Königreich ∙ 1988 ∙ 104‚ ∙
Englisch, Zulu, Afrikaans 22.02. 21:00 fsk Kino (mehr)

A film by Katharina Woll. In German with English subtitles.

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An incisi­ve psy­cho­lo­gi­cal pro­fi­le that’s fil­led with subt­le ten­si­on but never loses its deli­ca­cy and grace.

Ina is a the­ra­pist, the mother of a rebel­lious teenage girl, and a part­ner to a man who has always put his own care­er first. She puts everyone’s needs ahead of her own until one hot sum­mer day, when her self-cen­te­red mother cele­bra­tes her 70th bir­th­day, some­thing hap­pens that will chan­ge everything.

Credits:

DE 2022, 80 Min., deut­sche OmeU
Regie: Katharina Woll
Kamera: Matan Radin
Schnitt: Kai Minierski
mit: Anne Ratte-Polle, Lea Drinda, Ulrike Willenbacher, Urs Jucker, Hassan Akkouch

Trailer:

nach obenAlle wollen geliebt werden

A film by Hirokazu Kore-Eda. In Korean with German suntitles.

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A man and his fri­end occa­sio­nal­ly ste­al babies from the church’s baby box and sell them on the adop­ti­on black mar­ket. However, when a young mother comes back after having aban­do­ned her baby, she dis­co­vers them and deci­des to go with them on a road-trip to inter­view the baby’s poten­ti­al parents.

Credits:

브로커
KR / JP 2022, 129 Min., kore­an. OmU
Regie. Schnitt & Buch: Hirokazu Kore-Eda
Kamera: Kyung-pyo Hong
mit: Song Kang-ho, Gang Dong Won, Doona Bae, Lee Ji Eun, Lee Joo Young

Trailer:

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