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A film by Philip Scheffner. In French an Arabic with German subtitles.

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Previously acclai­med for his essay­i­stic docu­men­ta­ries, Philip Scheffner has now ven­tu­red into fic­tion. Zohra, play­ed by Rhim Ibrir, alre­a­dy fea­tured in Scheffner’s HAVARIE (Berlinale Forum 2016), is living in a town in sou­thwes­tern France. She has a seve­re case of sco­lio­sis. Volker Sattel’s came­ra­work exami­nes X‑rays, fol­lows Zohra to the hos­pi­tal and to an indoor swim­ming pool for rehab and sits right next to her or behind her on the bus. The images are crisp and floo­ded with sum­mer light, the sen­se of place and space is so pre­cise that we know each of the bus stops along her way: first Poste, then Piscine, then Europe.
When Zohra’s con­di­ti­on impro­ves, her resi­dence per­mit is not rene­wed, so she has to go back to Algeria. Her case worker shrugs his should­ers: it’s out of his hands, he says, not­hing he can do about it. A fade to black marks a tur­ning point in the sto­ry, after which the heroi­ne dis­ap­pears from view. Scheffner con­ti­nues to vary this game of the visi­ble and the invi­si­ble for a while until dream and ever­y­day rea­li­ty fuse in the sum­mer heat and gla­ring sun­light to crea­te a shim­me­ring nar­ra­ti­ve in the sub­junc­ti­ve. (Cristina Nord)

Credits:

DE/FR 2022, 105 Min., Französisch, Arabisch OmU,
Regie: Philip Scheffner
Kamera: Volker Sattel.
Schnitt: Philip Scheffner
Mit: Rhim Ibrir, Thierry Cantin, Didier Cuillierier, Sadya Bekkouche

Trailer:

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Sorry, this ent­ry is only available in Deutsch.

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Als ihr Zuhälter und Vater ihres Kindes eine ande­re Frau hei­ra­tet, ver­sucht Mamma Roma (Anna Magnani) die Vergangenheit hin­ter sich zu las­sen und ein neu­es Leben anzu­fan­gen: Sie zieht mit ihrem 16-jäh­ri­gen Sohn, der auf dem Land in einem Internat auf­ge­wach­sen ist, in eine bür­ger­li­che Gegend und betreibt einen Gemüsestand. Das neue gemein­sa­me Leben ent­puppt sich als span­nungs­ge­la­de­ner als geplant, und plötz­lich erscheint auch der Zuhälter Carmine wie­der, inzwi­schen von sei­ner neu­en Frau getrennt, und stellt sie vor ein Ultimatum.

Regie: Pier Paolo Pasolini
Kamera: Tonino Delli Colli
Musik: Carlo Rustichelli
Mit: Anna Magnani, Ettore Garofolo, Franco Citti, Silvana Corsini, Luisa Loiano, Paolo Volponi etc.

IT, 1962, 105 min., OmU, FSK: 12

a Film by Pedro Almodóvar. In Spanish with German subtitles.

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Two women coin­ci­de in a hos­pi­tal room whe­re they are going to give birth. Both are sin­gle and beca­me pregnant by acci­dent. Janis, midd­le-aged, doesn’t reg­ret it and is exul­tant. The other, Ana, an ado­le­s­cent, is scared, rep­en­tant and trau­ma­tis­ed. Janis tri­es to encou­ra­ge her while they move like sleep­wal­kers along the hos­pi­tal cor­ri­dors. The few words they exch­an­ge in tho­se hours will crea­te a very clo­se link bet­ween the two, which by chan­ce deve­lo­ps and beco­mes com­pli­ca­ted, chan­ging their lives in a decisi­ve way.

Credits:

Madres parale­las
Spanien 2021, 126 min., span. OmU
Regie und Buch: Pedro Almodóvar
Kamera: José Luis Alcaine
Schnitt: Teresa Font
mit: Penélope Cruz, Milena Smit, Rossy de Palma, Israel Elejalde, Aitana Sánchez Gijón, Julietta Serrano, Daniela Santiago

Trailer:

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a film by Asghar Farhadi. Starts March 31st at the fsk. 

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Rahim is in pri­son becau­se of a debt he was unable to repay. During a two-day lea­ve, he tri­es to con­vin­ce his cre­di­tor to with­draw his com­plaint against the pay­ment of part of the sum. But things don’t go as planned …

Credits:

قهرمان Ghahreman, IR 2021, 127 Min., far­si OmU
Regie & Buch: Asghar Farhadi
Kamera: Ali Ghazi
Schnitt: Hayedeh Safiyari
mit: Amir Jadidi, Mohsen Tanabandeh, Fereshteh Sadre Orafaiy, Sarina Farhadi, Sahar Goldust

Trailer:

https://vimeo.com/669792198/c821d52bf2

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a film by Nadav Lapid. Starts March 17th at the fsk. In Hebrew with German subtitles.

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Y., an Israeli film­ma­ker in his mid-for­ties, arri­ves in a remo­te vil­la­ge at the far end of the desert to pre­sent one of his films. There he meets Yahalom, an offi­cer for the Ministry of Culture, and finds hims­elf fight­ing two losing batt­les: one against the death of free­dom in his coun­try, the other against the death of his mother.

Credits:

Ha’berech
Israel/ Deutschland/ Frankreich 2021 ‚109 Min., hebr. OmU
Regie & Buch: Nadav Lapid
Kamera: Shaï Goldman
Schnitt: Nili Feller
mit: Avshalom Pollak, Nur Fibak, Yoram Honig, Lidor Ederi, Yonathan Kugler

Trailer:

Aheds Knie (offi­zi­el­ler OmdU Trailer)

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a film by Juho Kuosmanen. Starts March 31st at the fsk. In Finnish and Russian with German subtitles,

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Originally plan­ned as a joint train trip with her lover, the shy Finn Laura embarks on the jour­ney to the arc­tic port of Murmansk to visit anci­ent rock pain­tings alo­ne by hers­elf. Forced to share the long ride and a tiny slee­ping car with a Russian miner, the unex­pec­ted encoun­ter leads the occu­pants of Compartment no. 6 to face the truth about their own year­ning for human connection.

Credits:

Hytti nro 6, Compartment No. 6
FI/DE/EE/RU 2021, 107 Min., russ. finn. OmU
Regie: Juho Kuosmanen
Kamera: Jani-Petteri Passi
Schnitt: Jussi Rautaniemi
mit: Seidi Haarla, Jury Borisov, Yulija Aug

Trailer:

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A film by Kaouther Ben Hania. In Arabic, English and French with German subtitles

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Sam Ali, a young sen­si­ti­ve and impul­si­ve Syrian, left his coun­try for Lebanon to escape the war. To be able to tra­vel to Europe and live with the love of his life, he accepts to have his back tat­to­oed by one of by the World’s most sul­fu­rous con­tem­po­ra­ry artist. Turning his own body into a pres­ti­gious pie­ce of art, Sam will howe­ver come to rea­li­ze that his decis­i­on might actual­ly mean any­thing but freedom.

Credits:

TN/FR/BE 2020, 104‘ min., Arabisch/Englisch/Französisch OmU, Regie: Kaouther Ben Hania, Kamera: Nestor Salazar, Schnitt: Marie-Hélène Dozo, mit Yahya Mahayni, Dea Liane, Koen De Bouw, Monica Bellucci

Trailer:

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a film by Ali Vatansever. 

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The Fikirtepe dis­trict of Istanbul. Urban trans­for­ma­ti­on is swee­ping away the poor com­mu­ni­ties, and Syrian refu­gees take shel­ter in deser­ted buil­dings. Kamil and his wife Remziye risk losing their home. Unemployed for a long time, Kamil has no choice but to secret­ly accept a job on a con­s­truc­tion site. Not only is he taking the job from a Syrian refu­gee, he’s also working for the com­pa­ny tha­t’s des­troy­ing the area next door. Oppression and anxie­ty in his neigh­bor­hood and at work, whe­re he’s accept­ed the low wages paid to refu­gees, gra­du­al­ly trans­form him. When Kamil dis­ap­pears, Remziye has to face the con­se­quen­ces of his actions. (Cineuropa)enzen sei­ner Taten stellen.

Credits:

DE, RO, TR 2021, 108 min., Türkische OmU
Buch und Regie: Ali Vatansever
Kamera: Tudor Vladimir Panduru
mit Erol Afsin, Saadet Aksoy, Kida Khodr Ramadan

Trailer:

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Sorry, this ent­ry is only available in Deutsch.

80 Jahre alt wäre der Maler, Autor, Regisseur und poli­ti­sche Aktivist Derek Jarman am 31.1.22 gewor­den. Er starb 1986 an den Folgen sei­ner AIDS-Erkrankung, die er auch in sei­nen Filmen zur Sprache brach­te. BLUE, sein letz­ter und for­mal wohl extrems­ter Film, wur­de von der Krankheit, durch die er erblin­de­te, bestimmt. Die Ton- Musik- und Sprechcollage vor mono­chrom blau­er Leinwand ist poli­tisch und per­sön­lich, poe­tisch und dis­kur­siv zugleich.

Jarmans Filme gel­ten als radi­kal, zor­nig und enga­giert. Er führ­te einen ste­ti­gen Kampf gegen die Thatcher-Regierung und zeig­te sich hier­bei als Queer- und AIDS-Aktivist, aber sein Thema war vor allem auch die Liebe, beson­ders die ver­hin­der­te, und körperliche.

Wir zei­gen sechs sei­ner Werke, die neu restau­riert und digi­ta­li­siert wur­den. Dazu gibt eine Doku über ihn, von Regisseur Julien Isaac und Tilda Swinton, die ohne Jarman nicht zu den­ken wäre (und umge­kehrt), und in allen sechs Filme mitwirkt:

Caravaggio (1986, 93‘), der bio­gra­fi­sche Ausschnitt vom ita­lie­ni­schen Maler ist wohl sein bekann­tes­tes Werk. (21.1. 17:45) [Tickets]

The Garden (1990, 95‘) ist eine sinn­li­che, sub­jek­ti­ve, schwu­le Passionsgeschichte mit Garten-nahem Atomkraftwerk.(22.1. 17:45) [Tickets]

Edward II (1991, 90‘) hat bei Jarman einen etwas ande­ren Stand als bei Mel Gibson seinerzeit.(23.1. 17:45) [Tickets]

Wittgenstein (1993, 75‘) – „hei­te­re, dia­log­si­che­re, her­vor­ra­gend gespiel­te Gesamtschau auf das Leben eines phi­lo­so­phi­schen Außenseiters“ (Lexikon des intern. Films) (24.1. 17:45) [Tickets]

War Requiem (1989, 92‘) ist die fil­mi­sche Umsetzung Benjamins Brittons Musikstücks, mit Laurence Olivier in sei­ner letz­ten Rolle. (25.1. 17:45) [Tickets]

Blue DF (1993, 74‘), gespro­chen von Derek Jarman, Tilda Swinton, Nigel Terry, John Quentin, und in der deut­schen Fassung von Ulrich Matthes, Sylvester Groth, Wolfgang Condrus, Eva Mattes. (22. & 23.1. 15:45) Blue OV [Tickets]

Derek (2008, 76‘) – ein Brief, ein Interview, eine Rückschau und Hommage (26.1. 17:45) [Tickets]

• alle Filme lau­fen in Originalfassung mit deut­schen Untertiteln, Blue in dt. und engl. Fassung

a film by Elmar Imanov. In Azeri with German subtitles. 

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A fami­ly is coming apart: unem­ploy­ed actor Samir just wants to be left alo­ne; his wife Fidan thinks about taking on a job in Berlin and their son Mahmud just wants to get as far away from his par­ents as pos­si­ble. But then a dra­ma­tic inci­dent during a trip to the beach unco­vers the fami­ly’s weak spots pain­ful­ly. The film mas­terful­ly navi­ga­tes bet­ween the­se three cha­rac­ters and por­traits them as both stran­gers and accom­pli­ces at the same time. Cologne-based direc­tor Elmar Imanov’s film recei­ved the FIPRESCI Critics Award at this year’s International Film Festival in Rotterdam.

Credits:

DE/GE/AZ 2019, 92 Min., aze­ri OmU
Regie: Elmar Imanov
Kamera: Berta Valin Escofet und Driss Azhari
Schnitt: Ioseb „Soso” Bliadze
mit Rasim Jafarov, Zulfiyye Gurbanova, Mir-Mövsüm Mirzazade

Trailer:

END OF SEASON – Offizieller Trailer

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