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A film by François Ozon. In French with German subtitles.

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Algiers, 1938. Meursault, a quiet and unas­sum­ing employee in his ear­ly thir­ties, attends his mother’s fun­e­ral wit­hout shed­ding a tear. The next day, he beg­ins a casu­al affair with Marie, a work col­le­ague, and quick­ly slips back into his usu­al rou­ti­ne.
However, his dai­ly life is soon dis­rupt­ed by his neigh­bour, Raymond Sintès, who draws Meursault into his shady dealings — until, on one blis­te­rin­gly hot day, a tra­gic event occurs on a beach.

Credits:

L’Étranger
FR 2025, 120 Min., fran­zö­si­sche OmU
Regie: François Ozon
Kamera: Manu Dacosse
Schnitt: Clément Selitzki
mit: Benjamin Voisin, Rebecca Marder, Pierre Lottin, Denis Lavant, Swann Arlaud

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A film by Eliza Petkova. In Bulgarian with German subtitles.

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In a remo­te Bulgarian moun­tain vil­la­ge, six ani­mals reve­al the mys­te­rious world of supers­ti­ti­on. A cat is con­side­red a vam­pi­re, a don­key is thought to be bewit­ched, and a dog is seen as a chi­cken hun­ter. Through sen­si­ti­ve obser­va­ti­on, we wit­ness the dwind­ling hopes of the vil­la­ge through the eyes of its four-leg­ged inha­bi­tants. Time seems to stand still, yet tran­si­ence remains the only constant.

Credits:

DE/BG 2024, 95 Min., bul­ga­ri­sche OmU
Regie: Eliza Petkova
Kamera: Constanze Schmitt
Schnitt: Eliza Petkova, Hannes Marget

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A film by Edward Yang. Re-release. In Mandarin and Japanese with German subtitles.

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The Taiwanese film­ma­ker Edward Yang shows in his film Yi Yi – A One and a Two the life of a fami­ly in modern Taipei. NJ is a man in his mid-for­ties. He is mar­ried, a father of two child­ren and suc­cessful in his job – still he is no lon­ger hap­py with hims­elf and with his life.

While NJ starts seing his old fla­me again his mother-in-law is in a coma. It is NJ’s eight year old son who gui­des us through ever­y­day life of the fami­ly and who asks cri­ti­cal ques­ti­ons and sur­pri­ses the spec­ta­tors with his expe­ri­ments in the water. The older sis­ter has her first expe­ri­en­ces with love and lear­ns that one can not force felicity.

Credits:

Yi Yi – A One and a Two
TW/JP 2000, 173 Min., Taiwanesisches Mandarin, Japanisch OmU
Regie: Edward Yang
Kamera: Weihan Yang
Schnitt: Bowen Chen
mit Kelly Lee, Jonathan Chang, Niazhen Wu, Elaine Jin, Issey Ogata

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A film by Hafsia Herzi. In French and Arabic with German subtitles.

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Fatima, 17, the youn­gest of three daugh­ters, treads careful­ly as she sear­ches for her own path, grap­pling with emer­ging desi­res, her attrac­tion to women, and her loyal­ty to her caring French-Algerian fami­ly. Starting uni­ver­si­ty in Paris, she dates, makes fri­ends, and explo­res a who­le new world, all while con­fron­ting a tim­e­l­ess and heart­ren­ding dilem­ma: How can one stay true to ones­elf when recon­ci­ling dif­fe­rent parts of one’s iden­ti­ty feels impossible?

Credits:

La peti­te der­niè­re
DE/FR 2025, 106 Min., Französisch, Arabisch OmU
Regie: Hafsia Herzi
Kamera: Jérémie Attard
Schnitt: Géraldine Mangenot
mit Nadia Melliti, Ji-Min Park, Aloïse Sauvage, Nemo Schiffman, Sophie Garagnon

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A film by Kirill Serebrennikov. In German and Spanish with German subtitles.

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The film fol­lows Nazi phy­si­ci­an Josef Mengele in the years fol­lo­wing the end of the Second World War, detail­ing his later life in Argentina, Paraguay, and Brazil. The film explo­res his rela­ti­onships with his second wife Martha and his estran­ged son Rolf as he jus­ti­fies his actions at Auschwitz con­cen­tra­ti­on camp.

Credits:

FR/MX/DE/GB 2025, 135 Min., deutsch, spa­ni­sche OmU,
Regie: Kirill Serebrennikov
Kamera: Vladislav Opelyants
Schnitt: Hansjörg Weißbrich
mit: D: August Diehl, Max Bretschneider, Dana Herfurth, Friederike Becht, Mirco Kreibich, David Ruland

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A film by Philipp Döring. 

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“It’s not about giving life more days, it’s about giving days more life” is one of the ide­as for­mu­la­ted by Cicely Saunders, the foun­der of pal­lia­ti­ve care. It fli­ckers up during a pre­sen­ta­ti­on in Philipp Döring’s four-hour insti­tu­tio­nal obser­va­ti­on while a carer ins­tructs a new staff mem­ber. They are at the Franziskus hos­pi­tal in Berlin. Döring docu­ments a few months here bet­ween the start of the year and sum­mer, accom­pany­ing doc­tors on their rounds and in con­sul­ta­ti­ons with rela­ti­ves and lis­tening in on the team’s inter­nal exch­an­ges, which don’t shy away from men­tio­ning short­co­mings. A safe space is crea­ted that fol­lows its own rules, in which dia­lo­gues about life paths are taken up and reflec­ted upon, pro­gress is cele­bra­ted and approa­ching fare­wells ent­rus­ted to the neces­sa­ry peo­p­le. Palliativstation is thus also a film about lan­guage, which shifts bet­ween medi­cal jar­gon and dif­fe­rent dialects and is some­ti­mes only able to be pro­du­ced with tech­ni­cal help. Döring gets very clo­se to death, but with it also to life. His film is weigh­ty, impres­si­ve and yet never beco­mes crus­hing under the bur­den of fate. One thing quick­ly beco­mes clear: life only ends with the final heartbeat.

Credits:

DE 2025, 245 Min.,
Regie, Kamera, Schnitt: Philipp Döring

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A film by Eva Victor. In English with German subtitles.

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Something bad hap­pen­ed to Agnes. But life goes on… for ever­yo­ne around her, at least.

Credits:

US 2025, 103 Min., engl. OmU
Regie: Eva Victor
Kamera: Mia Cioffi Henry
Schnitt: Randi Atkins, Alex O’Flinn
mit: Eva Victor, Naomi Ackie, Louis Cancelmi, Kelly McCormack, Lucas Hedges, John Carroll Lynch

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A film by Alissa Jung. In German, English and Italian with German subtitles.

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Fifteen-year-old Leo has grown up in Germany wit­hout a father. When she dis­co­vers his iden­ti­ty, she imme­dia­te­ly sets out to track him down. She finds Paolo in a board­ed-up beach bar on the win­try coast of nor­t­hern Italy. The reuni­on lea­ves Paolo over­whel­med and con­flic­ted. After Leo’s sud­den appearance in his life, he strug­gles to balan­ce his rela­ti­onship bet­ween her and the fami­ly he has now. At first, Leo just wants ans­wers. But soon, she starts to long for a place in Paolo’s life. With no money nor plans, she stays on in the small town. As they spend more time tog­e­ther, Leo and Paolo ten­ta­tively begin to bond and dis­co­ver they have much in com­mon. But rea­li­ty ine­vi­ta­b­ly cat­ches up with them. When Paolo prio­ri­ti­ses his youn­ger daugh­ter over Leo again, the lat­ter is left hurt and angry. A con­fron­ta­ti­on lays bare their pain, appar­ent­ly shat­te­ring their fra­gi­le con­nec­tion. But, amid the turm­oil, father and daugh­ter begin to ack­now­ledge their respec­ti­ve truths and take a small but meaningful step towards acceptance.

Credits:

DE/IT 2025, 113 Min., dt.,engl. ital. OmU
Regie & Schnitt: Alissa Jung
Kamera: Carolina Steinbrecher
Schnitt: Heike Parplies, David Maria Vogel
mit: TJuli Grabenhenrich, Luca Marinelli, Arturo Gabbriellini, Joy Falletti Cardillo, Gaia Rinaldi

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A film by Michael Kofler. In German and Italian with German subtitles.

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1961 – South Tyrol, a mino­ri­ty regi­on in Northern Italy, beco­mes sta­ging ground for a bom­bing cam­paign against Italian rule. The lives of aspi­ring artist Paul, his hard­li­ner brot­her Anton, and Anton’s wife, Anna, spi­ral out of control..

Credits:

DE/IT/AT 2025, 112 Min.,
Regie & Schnitt: Michael Kofler
Kamera: Felix Wiedemann
Schnitt: Florian Miosge
mit: Thomas Prenn, Aenne Schwarz, Laurence Rupp, Francesco Acquaroli

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A film by Joachim Trier. In Norwegian with German subtitles.

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Winner of the Grand Prix at this year’s Cannes Festival, the spraw­ling inter­ge­ne­ra­tio­nal dra­ma AFFEKSJONSVERDI sees wri­ter-direc­tor Joachim Trier team­ing up once more with Renate Reinsve, the brea­kout star of his cele­bra­ted exis­ten­ti­al rom-com VERDENS VERSTE MENNESKE (2021). Reinsve plays Nora, a gifted stage and tele­vi­si­on actress we first see having an uproa­rious back­stage break­down befo­re her ope­ning night per­for­mance of Chekhov’s The Seagull. When her estran­ged father, Gustav (Stellan Skarsgård), reap­pears, he offers her a part in film he’s writ­ten about his mother, who was tor­tu­red by Nazis and died by sui­ci­de. Nora refu­ses, lea­ding Gustav to cast a Hollywood actress (Elle Fanning) in her stead. By tur­ning their Oslo fami­ly home into his own film set, Gustav upen­ds not just Nora’s life but that of her more well-adjus­ted sis­ter (Inga Lilleaas), a for­mer child actor who star­red in one of Gustav’s ear­ly films. Brimming with fami­li­al resent­ments and artis­tic anxie­ties yet distin­gu­is­hed by an awk­ward, under­sta­ted sen­se of humour, AFFEKSJONSVERDI is an absor­bing ensem­ble pie­ce about explo­ita­ti­on, memo­ry and legacy—and the power of artis­tic crea­ti­on to both heal past wounds and defer hard truths. (Beatrice Loayza)

Credits:

Affeksjonsverdi
DK/DE/FR/NO 2025, 132 Min., Norwegisch mit deut­schen Untertiteln
Regie & Schnitt: Joachim Trier
Kamera: Kasper Tuxen
Schnitt: Olivier Bugge Coutté
mit: Renate Reinsve, Stellan Skarsgård, Elle Fanning, Inga Ibsdotter Lilleaas

Trailer:

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