Hiroshi (Sho Aoyagi), Takeru (Keita Machida) and Tetsuo (Nobuyuki Suzuki) all live in the same city. Hiroshi is an unpopular idol singer and he feels a void in his life. He is placed under confinement by his fan Masako. Takeru believes that a girl returns to consciousness. Tetsuo decides to take revenge on a yakuza who sent him to prison.
The film sets in on November 25, 1970, the last day in Mishima’s life. He is shown finishing a manuscript. Then, he puts on a uniform he designed for himself and meets with four of his most loyal followers from his private army.
In flashbacks highlighting episodes from his past life, the viewer sees Mishima’s progression from a sickly young boy to one of Japan’s most acclaimed writers of the post-war era (who in adulthood trains himself into the acme of muscular discipline, owing to a morbid and militaristic obsession with masculinity and physical culture). His loathing for the materialism of modern Japan has him turn towards an extremist traditionalism. He sets up his own private army and proclaims the reinstating of the emperor as head of state.
The biographical sections are interwoven with short dramatizations of three of Mishima’s novels: In The Temple of the Golden Pavilion, a stuttering aspirant sets fire to the famous Zen Buddhist temple because he feels inferior at the sight of its beauty. Kyoko’s House depicts the sadomasochistic (and ultimately fatal) relationship between a middle-aged woman and her young lover, who is in her financial debt. In Runaway Horses, a group of young fanatic nationalists fails to overthrow the government, with its leader subsequently committing suicide. Dramatizations, frame story, and flashbacks are segmented into the four chapters of the film’s title, named Beauty, Art, Action, and Harmony of Pen and Sword.
The film culminates in Mishima and his followers taking hostage a General of the Japan Self-Defense Forces. He addresses the garrison’s soldiers, asking them to join him in his struggle to reinstate the Emperor as the nation’s sovereign. His speech is largely ignored and ridiculed. Mishima then returns to the General’s office and commits seppuku.
(wikipedia)
[nbsp] Credits:
JP/US 1985, 121 Min., Regie: Paul Schrader, mit: Ken Ogata, Masayuki Shionoya, Hiroshi Mikami, Junya Fukuda
In unserem ausgesuchtem Programm finden sich bekannte Namen wie Agnes Vardas, deren letzten Film und Berlinale-BeitragVARDAPARAGNÈS wir zeigen (Sa., 20:00), oder der Eröffnungsfilm von Venedig von Cannes-Gewinner Kore-Eda, LAVÉRITÉ, der erstmals außerhalb Japans drehte, dafür mit Catherine Deneuve und Juliette Binoche (Di., 3.12., 20:00 Uhr). Auch Catherine Corsini ist keine Unbekannte, diesmal setzt sie mit UNAMOURIMPOSSIBLE (So., 1.12., 20:15) einen Bestseller in Szene. Ihre Hauptdarstellerin Virginie Efira hat bei uns am Sonntag ein Doppel: in SIBYL, Justine Triets Wettbewerbsbeitrag von Cannes, spielt sie eine Autorin und Psychotherapeutin.
Besuch bekommen wir von zwei recht neuen Gesichtern in der Filmwelt: Claire Burger (Party Girl) stellt C’ESTÇA L’AMOUR, eine Scheidungsgeschichte mit Bouli Lanners vor (29.12., 20:00), und Stéphane Batut seine Geist-Geschichte VIF-ARGENT / DERFLÜSSIGESPIEGEL, der in Cannes in der spannenden Nebenreihe ACID seine Premiere hatte (2.12. 20:00)
Eröffnet wird „unsere“ Filmwoche mit dem Dokumentarfilm über Leidenschaft für Klänge und Geräusche,L’ESPRITDESLIEUX (28.12., 20:00), abschließen werden wir mit dem neusten Film der mit ihren Filmen bei uns gern gesehenen Mia Hansen-Løve (Un amour de jeunesse, L’avenir), MAYA, der einem Fotoreporter, der gerade aus Geiselhaft befreit wurde, nach Goa folgt (4.12. 20:00). Alle Filme laufen in der franz. Originalfassung mit deutschen oder englichen Untertiteln.
Einige Werke haben 2020 reguläre Starts, u.a. VARDAPARAGNÈS, LAVÉRITÉ, VIF-ARGENT, SIBYL, und auch der Eröffnungsfilm LESMISERABLES (unter dem dt.Titel DIEWÜTENDEN) wird bei uns im Januar zu sehen sein.
A young man named Alessandro begrudgingly accepts a job as a companion for Giorgio, an elderly poet with Alzheimer’s. As they banter during their daily walks, they slowly piece together Giorgio’s long-buried memories, revealing clues to a hidden treasure.
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Credits:
Tutto quello che vuoi Italien 2017, 106 Min., ital. OmU Regie: Francesco Bruni Kamera: Arnaldo Catinari Schnitt: Cecilia Zanuso mit: Andrea Carpenzano, Giuliano Montaldo, Donatella Finocchiaro
In the early 18th century, a group of young slaves is brought to Europe. Among them is a 10-year-old boy whom a marchioness selects to be an object of study. Given the name Angelo, he receives a comprehensive education in languages and music and is passed around from Messina to Vienna as an exotic but Europeanized valet. Only Magdalena regards him as more than a decorative exhibition piece. Following his highly acclaimed feature-film debut MICHAEL (2011), Austrian director Markus Schleinzer traces the true story of Angelo Soliman in well-composed tableaux vivants. This period film was shot in the classic 4:3 aspect ratio, corresponding to Angelo’s narrowed perspective of being put on display. The results are powerful imagery and an evocative film that examines the excesses of colonialism both in their historical context and in the present day.
[nbsp] Credits:
AT/LU 2018, 111 Min., französisch-deutsche OmU-Fassung Regie: Markus Schleinzer Kamera: Gerald Kerkletz Schnitt: Pia Dumont mit: Makita Samba, Alba Rohrwacher, Larisa Faber, Kenny Nzogang, Lukas Miko
Paul and Astrid want to spend a romantic weekend in Hungary, but when Astrid recognizes one of the other hotel guests as her childhood sweetheart, the couple‘s trip turns into a trip to the past.
[nbsp] Credits:
DE 2019, 90 Min.,
Regie: Florian Koerner von Gustorf
Kamera: Reinhold Vorschneider
Schnitt: Mona Bräuer
mit: Christiane Paul, Ronald Zehrfeld, Sebastian Hülk
Charlie (Adam Driver) is a playwright who wants to stay in New York. Nicole (Scarlett Johansson) is an actress who has been given a desirable television role and has therefore moved to Los Angeles. The distance between the two is tearing their already tense relationship apart. The film goes back and forth through time, showing how Charlie and Nicole fell in love and built a life together alongside a chronicle of their marital dismantling.
[nbsp] Credits:
USA 2019, 134 Min., engl. OmU Regie: Noah Baumbach Musik: Randy Newman Kamera: Robbie Ryan Schnitt: Jennifer Lame mit: Scarlett Johansson, Adam Driver, Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty
‘We’re waiting to grow old’. This sentence briefly sums up Yaoyun and his wife Liyun’s bitter realisation about their lives. They were once a happy family – until their son drowned playing by a reservoir. And so Yaojun and Liyun leave their home and plunge into the big city, although nobody knows them there and they cannot even understand the local dialect. Their adopted son Liu Xing does not offer them the comfort they had hoped for either. Defiantly rejecting his ‘foreign’ parents, he one day disappears altogether. The married couple are repeatedly enmeshed in their memories. Finally, they decide to return to the site of their lost hopes.
In this family saga spanning three decades of Chinese history, the private and the political merge and the individual gets caught up in the gears of a society in the throes of constant change. Part melodrama, part critique of the times, this film takes us from the country’s upheaval in the 1980s following the Cultural Revolution to the prospering turbo-capitalism of the present day. Told in sweeping tableaux, it makes visible the deep scars that lie beneath the surface of an ostensibly unbroken success story.
[nbsp] Credits:
Di jiu tian chang China 2019, 185 Min., chin. OmU Regie: Wang Xiaoshuai Kamera: Kim Hyun-seok Schnitt: Lee Chatametikool mit: Wang Jingchun, Yong Mei, Qi Xi, Wang Juan, Du Jiang
When the Taliban puts a bounty on Afghan director Hassan Fazili’s head, he is forced to flee the country with his wife and two young daughters. Capturing the family’s journey firsthand, Fazili documents their harrowing trek across numerous borders revealing the danger and uncertainty facing refugees seeking asylum juxtaposed with the unbreakable love shared amongst the family on the run.
„There are many films about the current refugee crisis but I’ve not seen a documentary quite as intimate as this one… Fazili and his wife are both filmmakers, so they have filmmakers’ eyes. They catch moments of true cinematic beauty, but these moments stand out as grace notes to an otherwise harsh existence.”
Elijah Davidson, Docs/Ology
„A valuable, first-hand refugees’ story… Full of social and political urgency… A family’s joint testimony, heartfelt and heartbreaking, particular yet hauntingly representative.”
Caryn James, The Hollywood Reporter
Clara arrives in wintry New York with her two sons on the back seat of her car. The journey, which she has disguised as an adventure for her children’s sake, is soon revealed to be an escape from an abusive husband and father. He is a cop, and Clara is desperately trying to elude his attempts to pursue her. The three have little more than their car, and when this is towed away, they are left penniless on the street. But the big cold city shows mercy: in their search for refuge, the family meets a selfless nurse named Alice who arranges beds for them at an emergency shelter. While stealing food at a Russian restaurant called ‘Winter Palace’, Clara meets an ex-con, Marc, who has been given the chance to help the old eatery regain its former glory. The ‘Winter Palace’ soon becomes a place of unexpected encounters between people who are all undergoing some sort of crisis and whom fate has now brought together. With a keen eye for character, Lone Scherfig explores human behaviour in extreme conditions. She depicts the harshness of life in the urban jungle, but she also demonstrates what can grow when strangers approach each other in friendship and with an open heart.
[nbsp] Credits:
DK/CA/SE/DE/FR 2019, 112 Min., engl. OmU
Regie, Buch: Lone Scherfig
Kamera: Sebastian Blenkov
Schnitt: Cam McLauchlin
mit: Zoe Kazan, Andrea Riseborough, Tahar Rahim, Caleb Landry Jones, Jay Baruchel, Bill Nighy
Termine:
noch keine oder keine mehr
[nbsp] Trailer:
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