Back to the Fatherland

A film by Kat Rohrer & Gil Levanon.

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Gil and Kat, fri­ends sin­ce their time at a col­lege. Gil is from Israel, Kat from Austria. Gil is the grand­d­augh­ter of Holocaust sur­vi­vors, Kat the grand­d­augh­ter of a Nazi offi­cer. Despite the­se sub­stan­ti­al dif­fe­ren­ces they have been fri­ends for over10 years. Through them we meet Dan and Guy who’s decis­i­on to move to Austria and Germany has affec­ted their rela­ti­onship with their grand­par­ents and fami­lies. The film deals with third-gene­ra­ti­on on both sides and its attempts to build their own future wit­hout igno­ring the past.

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Credits:
AT, IL, DE, US 2017, 75 Min.,
OV (English/Hebrew) with German Subtitles (only German dia­lo­gue will have additional
eng­lish subtitles)
Regie: Kat Rohrer & Gil Levanon
Kamera: Thomas Marschall
Schnitt: Georg Eggenfellner

Termine:

  • noch kei­ne oder kei­ne mehr 

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Trailer:

Back To The Fatherland – Offical Trailer from Kat Rohrer on Vimeo.

In my Room

A film by Ulrich Koehler. In German.

[Credits] [Termine] [Trailer]

ARMIN is get­ting too old for his night life habits and the woman he likes. He’s not real­ly hap­py, but can’t pic­tu­re living a dif­fe­rent life. One mor­ning he wakes up: the world looks the same as always, but man­kind has dis­ap­peared. – A film about the frigh­tening gift of maxi­mum freedom.

Now it’s dark and I’m alone
But I won’t be afraid
In my room
In my room
(Brian Wilson/Beach Boys)

Credits:

DE 2018, 120 Min., 
Buch & Regie: Ulrich Koehler
Kamera: K. Patrick Orth
Schnitt: Laura Lauzemis
mit: Hans Löw, Elena Radonicich, Michael Wittenborn, Ruth Bickelhaupt, Emma Bading, Katharina Linder

Termine:

  • noch kei­ne oder kei­ne mehr 

Trailer:

IN MY ROOM – Trailer (HD)

Der Affront

A film by Ziad Doueiri. In Arabic with German subtitles.

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One after­noon in the dog days of a Beirut sum­mer, Tony gets into an alter­ca­ti­on with Yasser over a bro­ken drain­pipe. Tony is a mecha­nic and a Christian. Yasser is a con­s­truc­tion fore­man and a Palestinian. When Tony, hard-nosed and hot-hea­ded, refu­ses to accept Yasser’s half­he­ar­ted apo­lo­gy, two brui­sed male egos begin to swell. Tony utters an unf­or­gi­veable insult to Yasser. With a speed neither man could fore­see, their per­so­nal argu­ment escala­tes through the neigh­bor­hood and the city to the natio­nal stage. The dis­pu­te comes to encap­su­la­te the las­ting lega­cy of the Lebanese Civil War – and beco­mes a light­ning rod for peo­p­le with more power than eit­her man to pur­sue their own agendas.
THE INSULT is an impec­ca­bly made poli­ti­cal dra­ma, laye­red with cle­ver obser­va­tions on the com­plex histo­ry of the regi­on. But, abo­ve all, this is a tale of two men trap­ped by the past and try­ing, as best they can, to escape from its grasp in order to move into the future. (Kiva Reardon)

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Credits:

L’insulte
FR/LB 2017, 113 Min, arab. OmU

Regie: Ziad Doueiri
Kamera: Tommaso Fiorilli
Schnitt: Dominique Marcombe
mit: Adel Karam, Rita Hayek, Kamel El Basha, Camille Salameh

Termine:

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Trailer:

Der Affront – Trailer Deutsch

The film is shown in  Arabic with German subtitles.

Leto

A film by Kiril Serebrennikov. In Russian with German subtitles.

[Credits] [Termine] [Trailer]

Leningrad, one Summer in the ear­ly Eighties. The under­ground rock sce­ne is boiling.
Amongst the fol­lo­wers of Led Zeppelin and Bowie, young Viktor Tsoi is eager to make a name for himself.
The encoun­ter with his idol Mike and his beau­tiful wife Natasha will chan­ge his life fore­ver. Together they will build Viktor’s legend and make him immortal.

Credits:
RU 2018, 126 Min., russ. OmU
Regie: & Schnitt: Kiril Serebrennikov
Kamera: Vladislav Opelyants
mit: Teo Yoo, Irina Starshenbaum, Roma Zver, Anton Adasinsky, Liya Akhedzhakova

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Termine:

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Trailer:

Trailer LETO from xenix­film on Vimeo.

 

Touch me not

A film by Adina Pintilie. In German and English with German subtitles.

[Credits] [Termine] [Trailer]

Tell me how you loved me, so I under­stand how to love.’
Together, a film­ma­ker and her cha­rac­ters ven­ture into a per­so­nal rese­arch pro­ject about inti­ma­cy. On the flu­id bor­der bet­ween rea­li­ty and fic­tion, Touch Me Not fol­lows the emo­tio­nal jour­neys of Laura, Tómas and Christian, offe­ring a deep­ly empa­thic insight into their lives. Craving for inti­ma­cy yet also deep­ly afraid of it, they work to over­co­me old pat­terns, defen­se mecha­nisms and taboos, to cut the cord and final­ly be free.
Touch Me Not looks at how we can find inti­ma­cy in the most unex­pec­ted ways, at how to love ano­ther wit­hout losing ourselves.

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Credits:
Rumänien / Deutschland / Tschechische Republik / Bulgarien / Frankreich 2018
Englisch, Deutsche OmU, 125 Min.
Regie, Buch, Schnitt: Adina Pintilie
Kamera: George Chiper-Lillemark
mit: Laura Benson, Tómas Lemarquis, Christian Bayerlein, Grit Uhlemann, Hanna Hofmann, Seani Love, Irmena Chichikova, Rainer Steffen, Georgi Naldzhiev, Dirk Lange

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Termine:

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Trailer:

 

Aggregat

A film by Marie Wilke. In German.

[Credits] [Termine] [Trailer]

The gui­ded tours in the Reichstag buil­ding are well atten­ded; there’s lots of laugh­ter at the simu­la­ted vote on a bill. At the Bundestag’s “Infomobile” in Dresden, a citi­zen com­plains that the govern­ment is out of touch with the peo­p­le. SPD par­lia­men­ta­ri­ans attend a work­shop to prac­ti­se stra­te­gies for deal­ing with right-wing popu­list topics. A crowd chants: clo­se the bor­ders! Journalists from the taz and Bild-Zeitung news­pa­pers dis­cuss the issues of the day. An edi­to­ri­al team from TV sta­ti­on MDR pro­du­ces a report entit­led “Attack on Democracy – the New Right.” Calmly and sober­ly, Aggregat coll­ects astu­te­ly obser­ved and careful­ly arran­ged sce­nes from the dai­ly life of media and poli­tics in con­tem­po­ra­ry Germany. The came­ra always keeps its focus, the mon­ta­ge makes use of hard cuts and cuts to black. The uncon­nec­ted frag­ments show situa­tions wit­hout com­ment rela­ting to how poli­tics is media­ted or socie­ty dis­cus­sed. The role of the media as the fourth estate comes in for scru­ti­ny, as do the cri­te­ria which shape covera­ge. And ano­ther impres­si­on left by the film is the sheer amount of pains­ta­king work nee­ded to pre­ser­ve the grand idea of democracy.

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Credits:
DE 2018, 92 Min.
Regie, Buch: Marie Wilke
Kamera: Alexander Gheorghiu
Schnitt: Jan Soldat, Marie Wilke

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Termine:

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Trailer:

 

 

 

Matangi / Maya / M.I.A.

A film by Stephen Loveridge. In English and Tamil with German subtitles.

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Charting her expe­ri­en­ces of civil war and migra­ti­on to her rise as a popu­lar but con­tro­ver­si­al star, this docu­men­ta­ry film traces the life of the sin­ger and pop icon M.I.A. Born in Sri Lanka to the foun­der of the Tamil inde­pen­dence move­ment, Mathangi ‘Maya’ Arulpragasam – ali­as M.I.A. – fled to London with her mother and siblings at the age of nine. Her ori­gi­nal plan being to beco­me a docu­men­ta­ry film­ma­ker, she retur­ned to Sri Lanka as an art stu­dent and began film­ing her fami­ly mem­bers. Her jour­ney and her expe­ri­en­ces with Sri Lanka’s mili­ta­ry regime have shaped her artis­tic and poli­ti­cal atti­tu­des. She began making music and has deve­lo­ped a cul­tu­re clash aes­the­tic inspi­red by street art, hip-hop and various migrant com­mu­ni­ties in London that has lead to world­wi­de suc­cess. However, her sup­port for the Tamil rebels and her ‘bad girl’ iden­ti­ty have been harsh­ly cri­ti­cis­ed by main­stream media, poli­ti­ci­ans and con­ser­va­ti­ve mem­bers of the public. Using archi­ve mate­ri­al from the last 22 years, most of which was shot by Maya hers­elf, Steve Loveridge reve­als how Maya uses pop music as a poli­ti­cal mouth­pie­ce and does not shy away from being an outsider.

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Credits:
US/GB 2018, 100 Min., engl. OmU
Regie: Stephen Loveridge
Kamera: Graham Boonzaaier, Catherine Goldschmidt, Matt Wainwright
Schnitt: Marina Katz, Gabriel Rhodes
mit: Maya Arulpragasam

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Termine:

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Trailer:

 

 

 

 

Ex Libris – The Public Library von New York

A film by Frederick Wiseman.  In English with German subtitles.

[Credits] [Termine] [Trailer]

Cinematically vivi­sec­ting US-insti­tu­ti­ons sin­ce 1967, Frederick Wiseman has been able to sus­tain inte­rest throug­hout his docu­men­ta­ry epi­cs becau­se his obser­va­tio­nal approach insists that dra­ma is woven into the fabric of ever­y­day life. EX LIBRIS beg­ins by intro­du­cing the NYPL as a public-pri­va­te part­ner­ship. Whether sit­ting in on free talks by gre­at thin­kers like Patti Smith, obser­ving a job fair in the Bronx, or pee­king into a down­town recor­ding stu­dio. – Wiseman boun­ces bet­ween three dif­fe­rent boroughs wit­hout ever losing sight of how the Library sur­vi­ves by giving peo­p­le the resour­ces they need. “Libraries are not about books,” someone says in the film, “libra­ri­es are about peo­p­le.” As EX LIBRIS makes clear, the NYPL is more than just a repo­si­to­ry of dus­ty hard­co­vers. It’s a tree with 92 bran­ches, and deep roots that bind new york city tog­e­ther. It’s a living orga­nism that allows peo­p­le to bet­ter dis­co­ver and con­tex­tua­li­ze their place in this world. But the main source of con­ten­ti­o­nof this film — is the ques­ti­on of digi­tiza­ti­on. Wiseman is fasci­na­ted by how an insti­tu­ti­on of this size and signi­fi­can­ce tran­si­ti­ons from a pas­si­ve archi­ve to an acti­ve part of the community.
(David Ehrlich)

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Credits:
USA 2017, 206 Min., engl. OmU,
Regie, Buch, Schnitt:Frederick Wiseman

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Termine:

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Trailer:

 

 

Der Essayfilm – sichtbares Denken

Sorry, this ent­ry is only available in Deutsch.

Vorträge, Gespräche & Filmvorführungen in der Denkerei und im fsk Kino in Berlin,

19. – 21. Oktober

Die Veranstaltung „Der Essayfilm – sicht­ba­res Denken“ wid­met sich dem Essayfilm als expe­ri­men­tel­ler Filmform zwi­schen Spiel- und Dokumentarfilm – jeder Abend geht mit einer Projektion im fsk Kino zu Ende. Nähere Informationen zu den Vorträgen & Gesprächen in der Denkerei fin­den sich unter:

https://denkerei-berlin.de/kalender/?id=1284

Filmprogramm:

VOR ALLER AUGEN (19.10.)

Wachen und Warten im unsicht­ba­ren Bildernetz – VOR ALLER AUGEN ist eine bahn­bre­chen­de Studie zu frü­hen visu­el­len Kulturen der Kontrollgesellschaft. 40 Kameras einer Videoüberwachungsanlage beob­ach­ten das Geschehen in den Innen- und Außenräumen des Berliner ICC.

Im Anschluss fin­det ein Gespräch zwi­schen dem Regisseur Heiner Mühlenbrock und der Filmkritikerin Anke Sternborg statt. 

LANGE FILMNACHT: EIN BEST OF DES ESSAY FILM FESTIVALS, LONDON (20.10.)

THE IMAGED YOU MISSED ist ein Film im Film: Der Amerikaner Arthur MacCaig war über 30 Jahre lang fil­mi­scher Chronist des Bürgerkriegs in Nordirland. Sein Sohn, der iri­sche Regisseur Donal Foreman, hat die Geschichte des Vaters in Bildern rekonstruiert. 

Mark Rappaport ist ein Pionier des boo­men­den Genres „Visuelle Filmkritik“. Wir zei­gen drei sei­ner letz­ten Videocollagen: JOHN GARFIELD ist ein Tribut an den jüdi­schen US-ame­ri­ka­ni­schen Schauspieler John Garfield, „an out­si­der with a poli­ti­cal per­spec­ti­ve“. OUR STARS wid­met sich dem Thema Begehren im Starsystem Hollywood. SERGEI/SIR GAY spe­ku­liert über die laten­te Homosexualität Sergej Eisensteins aus der Perspektive eines fik­ti­ven, spie­le­ri­schen Ichs. 

Die „Lange Filmnacht“ wird von Michael Temple, Direktor des The Essay Film Festival, London, präsentiert. 

FRÜHE VIDEOARBEITEN VON JEAN-LUC GODARD: 6X2, SUR ET SOUS LA COMMUNICATION (21.10.)

Mit Six fois deux hat Godard sechs­mal zwi­schen den Bildern und Tönen die Fluchtlinie schöp­fe­ri­schen Handelns auf­blit­zen las­sen, und mit ihr hat er das Fernsehen ent­führt.“ (Gilles Deleuze)

Zusammen mit Anne-Marie Miéville grün­de­te Jean-Luc Godard Anfang der sieb­zi­ger Jahre in Grenoble die Videogesellschaft „Sonimage“. Unter dem Eindruck der tech­ni­schen Möglichkeiten des Videoformats ent­ste­hen zahl­rei­che Filmprojekte, die anstel­le des Kinos das Fernsehen adres­sie­ren. Die expe­ri­men­tell ange­leg­te Serienproduktion „Six fois deux [sur et sous la com­mu­ni­ca­ti­on]“ (R: Godard/Miéville, 1976, 610 Min.) skiz­ziert for­mal und inhalt­lich neue Wege, das Fernsehen als dis­kur­si­ves Medium zu etablieren.

Gezeigt wer­den die Episoden „Photos et cie“ und „Marcel“ sowie Ausschnitte aus einem Interview, das Wilfried Reichart Ende November 1976 mit Godard in Grenoble führ­te. Der Vorführung geht eine Einführung von Wilfried Reichart und Thomas Helbig voraus.

Fr., 19.10., 19:30 Uhr – 21:30

VOR ALLER AUGEN
BRD, 198290, 60 Min., Regie: Heiner Mühlenbrock 

Sa., 20.10., 21:00 Uhr

THE IMAGED YOU MISSED
Irland/FR/USA 2108, 74 Min., Regie: Donal Foreman
Englisch/Französisch mit eng­li­schen Untertiteln

JOHN GARFIELD
USA/FR, 2002, 9 Min., Regie: Mark Rappaport

OUR STARS
USA/FR, 2015, 27 Min., Regie: Mark Rappaport

SERGEI/SIR GAY
USA/FR, 2017, 36 Min., Regie: Mark Rappaport

Englische Originalfassungen

So., 21.10., 21:00 Uhr

PHOTO & CIE
Episode aus der TV-Serie 6X2, SUR ET SOUS LA COMMUNICATION, FR, 1976, 46 Min., Regie: Jean-Luc Godard et Anne-Marie Miéville

MARCEL
Episode aus der TV-Serie 6X2, SUR ET SOUS LA COMMUNICATION, FR, 1976, 55 Min., Regie: Jean-Luc Godard et Anne-Marie Miéville

Deutsche Synchronfassungen

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Berlin Excelsior

A film by Erik Lemke. In German.

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A num­ber of deco­ra­ti­ve boards care­less­ly atta­ched to the pale front of a dull con­cre­te apart­ment block – the Excelsior buil­ding, Berlin. For most of its inha­bi­tants this is just a sto­po­ver, very soon, life is going to get bet­ter, and ever­yo­ne is try­ing to find their own way: 49 year old Michael tri­es to live up to his for­mer suc­cess as an escort by pro­mo­ting the appli­ca­ti­on of „invi­si­ble make-up” online. Claudia’s show­girl days are over, but the pho­tos of a shoo­ting ses­si­on are to smooth her way back to the stage any­way. Norman’s start­up „ChangeU” is desi­gned to help peo­p­le get hap­py and hims­elf get a sleek new sports car…
Hardly anyo­ne of them mana­ges to eva­de fal­ling vic­tim to the tempt­a­ti­ons of our suc­cess-ori­en­ted society.

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Credits:
DE 2017, 87 Minuten,
Regie/Schnitt: Erik Lemke
Buch: Erik Lemke & André Krummel
Bildgestaltung: André Krummel 

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Termine:

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Trailer:

BERLIN EXCELSIOR – Trailer (HD)