spk Komplex

A film by Gerd Kroske.

The anti-psych­ia­tric Socialist Patients‘ Collective (SPK) was foun­ded in Heidelberg in 1970 and attri­bu­ted indi­vi­du­al suf­fe­ring to society’s capi­ta­list struc­tures. It began as a self-orga­nis­ed expe­ri­ment in group the­ra­py led by doc­tor Wolfgang Huber with psych­ia­tric pati­ents, fea­turing Hegel rea­dings and indi­vi­du­al agi­ta­ti­on, befo­re sub­se­quent­ly radi­cal­i­sing, which ended in cri­mi­nal pro­cee­dings against its mem­bers, some of whom went under­ground with the Red Army Faction. This film exami­nes a litt­le known chap­ter in West German histo­ry in impres­si­ve, unpre­ten­tious fashion. A pre­cise pic­tu­re of the social cli­ma­te lea­ding up to the German Autumn emer­ges from pains­ta­kin­gly rese­ar­ched docu­ments, such as records from the inte­ri­or minis­try and the uni­ver­si­ty, press pho­tos and TV reports, trips to Stammheim pri­son and to Italy, as well as from con­ver­sa­ti­ons with for­mer SPK – some­ti­mes RAF – mem­bers, lawy­ers and sta­te poli­ce. The skil­led inter­view tech­ni­ques pro­du­ce genui­ne encoun­ters with tho­se in front of the came­ra, as they look back on their lives and the SPK and dig out old papers, the ques­ti­on of their resis­tance han­ging in the air – all dif­fe­rent lay­ers of Kroske’s historiography.


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Credits:
Deutschland 2018, 111 Min., dt., ital. OmU
Regie: Gerd Kroske
Kamera: Susanne Schüle, Anne Misselwitz
Schnitt:Olaf Voigtländer, Stephan Krumbiegel

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Was uns bindet

A film by Ivette Löcker. In German.

Just as I thought that I could final­ly put my fee­lings for my par­ents and my ori­g­ins to rest, my father deci­ded to lea­ve me his crumbling farm­house. This stone inhe­ri­tance is sup­po­sed to tie me again to the place whe­re I grew up. It is sup­po­sed to bring me clo­ser to my par­ents again. I have trou­ble breathing as I rea­li­se that my jour­ney to under­stand my fami­ly has only just started.

Credits:
Österreich 2017,  102 Min.
Regie und Buch: Ivette Löcker
Kamera: Frank Amann
Schnitt: Michael Palm

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Transit

A film by Christian Petzold.

The German tro­ops are just out­side Paris. Georg escapes to Marseille at the last moment. His lug­ga­ge con­ta­ins the lega­cy of a wri­ter named Weidel, who took his own life out of fear of per­se­cu­ti­on. This lega­cy com­pri­ses a manu­script, some let­ters and the Mexican Embassy’s assu­rance of a visa. Only tho­se who can pro­ve that they will lea­ve are allo­wed in this port town, and this means you need an ent­ry per­mit from a poten­ti­al host coun­try. Assuming the iden­ti­ty of Weidel, Georg tri­es to obtain one of the few scar­ce pas­sa­ges on a ship. Talks bet­ween refu­gees take place in the cor­ri­dors of his small hotel, the wai­ting rooms of con­su­la­tes, and the cafés and bars down at the har­bour. Georg befri­ends Driss, the son of his late com­ra­de Heinz, who died whilst try­ing to flee. But when he meets the mys­te­rious Marie, his plans chan­ge. Transit is based on Anna Seghers’ epony­mous novel which she wro­te in exi­le. The film is set in con­tem­po­ra­ry Marseille whe­re the­se cha­rac­ters from the past move around. And so, refu­gees from back then meet refu­gees from today, histo­ry meets the pre­sent, and all of their sto­ries com­bi­ne to crea­te one eter­nal tran­sit space.

Credits:
Deutschland 2017, 101 Min.
Regie: Christian Petzold
Buch: Christian Petzold, nach dem Roman von Anna Seghers
Kamera: Hans Fromm
Schnitt: Bettina Böhler

mit: Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman, Maryam Zaree, Barbara Auer, Matthias Brandt, Sebastian Hülk, Emilie de Preissac

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Furusato

A film by Thorsten Trimpop.

FURUSATO 古里 reve­als the unu­su­al rela­ti­onship bet­ween a land­scape and its inha­bi­tants. Over the cour­se of a thousand years, the exu­berant natu­re of Japan’s eas­tern coast has beco­me inter­wo­ven in the lives of its peo­p­le. Here, the earth is sacred – but now, it is tain­ted with the invi­si­ble dan­ger of radia­ti­on. For tho­se who have deci­ded to stay, the rural sce­ne sur­roun­ding the cripp­led Fukushima Daiishi nuclear power plant remains the place they call home – their furu­sa­to, the first place they expe­ri­ence as child­ren and the last one they will see befo­re they die. A monu­men­tal por­trait of a woun­ded com­mu­ni­ty and an unspa­ring look at the human cost of pro­gress, the film illu­mi­na­tes the four years that fol­lo­wed the worst nuclear dis­as­ter of our time. Here, no one mea­su­res in half-lives. This is about eternity.

Credits:
Deutschland, USA 2016, 94 Min., japan. OmU
Regie: Thorsten Trimpop
Kamera: Thorsten Trimpop
Schnitt: Stefan Oliveira-Pita

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Festival der Demokratie

A film byn Lars Kollros and Alexandra Zaitseva. 

At 7. and 8. July 2017 the lea­ders of the EU and the 19 most deve­lo­ped and emer­ging eco­no­mies of the world met in the city of Hamburg/Germany. The Senator of the Interior of Hamburg, Andy Grote announ­ced the mee­ting as a “Festival of Democracy”. Over 30.000 poli­ce offi­cers whe­re in the city to pro­tect it. Up to 100.000 peo­p­le came to Hamburg to pro­test against it.
Lars Kollros and Alexandra Zaitseva accom­pa­nied the week of pro­tests with their cameras.

 
D 2017 90 Min.
Regie: Lars Kollros, Alexandra Zaitseva
Kamera: Lars Kollros, AlexandraZaitseva, Alex Uhlig, Esther Lang
 

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True Warriors

A Film by Niklas Schenck and Ronja von Wurmb-Seibel.

Kabul, December 11, 2014. During the pre­mie­re of a theat­re play about sui­ci­de bom­bings a 17 years old boy blows hims­elf up. Some in the audi­ence clap, becau­se at first they think the explo­si­on is part of a very rea­li­stic re-enact­ment. Only when panic spreads do they rea­li­ze what happened.
The docu­men­ta­ry film TRUE WARRIORS tells the sto­ry of the actors and the musi­ci­ans who were on stage that day. With their play, they wan­ted to make a point against the ter­ror and vio­lence that eats up their coun­try. Now they are para­ly­zed by fear. Ever get­ting on a stage again? Unimaginable! Becoming a famous musi­ci­an? Way too dangerous!
Only when vio­lence hits a second time, some of the artists deci­de to take a dif­fe­rent approach.They beco­me ever more radi­cal as artists. Not only do they go back on stage – they also play the most dar­ing pie­ce they ima­gi­nable, on the streets of Kabul, unprotected.
TRUE WARRIORS reminds us that if we real­ly want to defeat ter­ro­rism we need to offer more than fear and hat­red. One of the actors said after a scree­ning in Germany: „We need to move from a cul­tu­re of war to a cul­tu­re of peace – and who could lead the way but us artists?”.

 

D 2017„90 Min., Engl., Dari OmU,
R.: Niklas Schenck, Ronja von Wurmb-Seibel

 

Über Leben in Demmin

A film by Martin Farkas. In german.

Hundreds of Demmin resi­dents kil­led them­sel­ves in 1945 due to their fear of the Russians. The topic could not be dis­cus­sed in the GDR, today it is used as pro­pa­gan­da by fascists.

 

Credits:
Deutschland 2017, 90 min
Regie: Martin Farkas
Drehbuch: Jens Stubenrauch, Petra Felber, Barbara Denz, Martin Farkas
Kamera: Roman Schauerte
Schnitt: Jörg Hauschild, Catrin Vogt
Musik: Mathis Nitschke

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Thelma

A film by Joachim Trier. In nor­weg­an with ger­man subtitles.

«THELMA is seduc­ti­ve and musi­cal in tone and struc­tu­re, with a more explo­ra­to­ry visu­al lan­guage than Joachim Trier’s ear­lier fea­tures that were more focu­sed on dia­lo­gue and expres­sed a grea­ter self-disci­pli­ne visual­ly. THELMA is more like his shorts, but obvious­ly more tem­pe­ra­te coming from his artis­tic matu­ri­ty, expe­ri­ence and tech­ni­ques. Zeitgeist is repla­ced by tim­e­l­ess­ness, cham­ber music by a sym­pho­ny. The sys­te­ma­ti­cal­ly unpre­dic­ta­ble THELMA is the director’s most com­ple­te, lyri­cal and tran­s­cen­ding film. »
– Dag Sødholdt (Excerpt from Montages.no)

Joachim Trier’s first step into the gen­re film area is about the title cha­rac­ter Thelma, a young woman who moves away from her reli­gious fami­ly on the west coast of Norway to stu­dy in Oslo. Upon mee­ting fel­low stu­dent Anja hid­den fee­lings sur­face in Thelma, and after seve­ral inex­pli­ca­ble sei­zu­res she rea­li­zes that she is pos­s­es­sed by some­thing super­na­tu­ral – that might have ter­ri­fy­ing con­se­quen­ces. THELMA is a poe­tic pie­ce that embraces seve­ral impul­ses, gen­res and moods and is a major step onwards for Joachim Trier as a filmmaker.


 
Credits:
Frankreich/Dänemark/Schweden/Norwegen 2017, 116 Min., nor­weg. OmU
Regie: Joachim Trier
Buch: Joachim Trier, Eskil Vogt
Kamera: Jakob Ihre
Schnitt: Oliver Bugge Coutté
Musik: Ola Fløttum
mit: Eili Harboe, Okay Kaya, Kaya Wilkins, Ellen Dorrit Petersen, Henrik Rafaelsen
 
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Loveless

A film by Andrei Zvyagintsev. In rus­si­an with ger­man subtitles.

In Moscow, at the end of the school day, stu­dents are depar­ting on their way home. One twel­ve year old boy, Alexey, deci­des to take an indi­rect path home rather than using the regu­lar city streets. Alexey takes a path which leads him to walk by a local river in a woo­ded area just on the out­skirts of town. He appears to be in no par­ti­cu­lar rush to get home. His par­ents, Zhenya and Boris, are in the midst of obtai­ning a divorce, with much ani­mo­si­ty. They are por­tray­ed as having diver­gent and incom­pa­ti­ble per­so­na­li­ties. Both are try­ing to form new lives in new relationships.

One day, it is dis­co­ver­ed that the boy has dis­ap­peared from home, and his mother calls the poli­ce for assis­tance. At first, the poli­ce see this as the simp­le case of a runa­way child and expect the boy to return home within a day or two. However, when Alexey does not return, a vol­un­teer group spe­cia­li­zing in the search for miss­ing per­sons takes over the case and prompt­ly initia­tes a preli­mi­na­ry search for the boy by sen­ding the par­ents to estran­ged rela­ti­ves in the hope of loca­ting him. They are first sent to see if Alexey is at his mother’s par­ents. Alexey is not the­re when they arri­ve, though their trip to visit her mother out of town is punc­tua­ted by ten­si­on bet­ween the estran­ged rela­ti­ves and Boris is ver­bal­ly bera­ted and exco­ria­ted by Zhenya. On the return trip home, her ver­bal abu­se escala­tes to the point that Boris dischar­ges her on the rural road­way befo­re they get back to town.

The fail­ure of the poli­ce to find Alexey prompt­ly escala­tes the search for him into an all out emer­gen­cy miss­ing per­sons search across the town and sur­roun­ding are­as. A search of an aban­do­ned muni­ci­pal buil­ding from an old dila­pi­da­ted city deve­lo­p­ment pro­ject whe­re Alexey was known to have visi­ted turns up not­hing. Finally, the par­ents are asked to come to the mor­gue to exami­ne and try to iden­ti­fy the remains of a John Doe child of still unknown iden­ti­ty. The par­ents both deny that the dis­fi­gu­red dead chil­d’s body is their son, though the expe­ri­ence of being put through the iden­ti­fi­ca­ti­on pro­cess is emo­tio­nal­ly trau­ma­tic to them as they break­down in tears of despe­ra­ti­on, with Alexey still missing.

Later, Alexey’s mother has sold their apart­ment and workers begin dis­mant­ling wall han­gings and appli­ances left behind in the now vacant apart­ment. Outside on the street, miss­ing per­son pos­ters of Alexey now can­vas lar­ge parts of the city try­ing to seek help in loca­ting the miss­ing boy. The sce­ne shifts to the near­by river by the woo­ded path which Alexey used to use to walk home after school and the view focu­ses on an exten­ded land­scape sce­ne loo­king through naked win­ter bran­ches of the sur­roun­ding very tall trees. The tree bran­ches sway slight­ly against the win­ter sky with no sight of Alexey or anyo­ne else among the naked win­ter branches.
 


 
Credits:
Originaltitel: Nelyubov  Frankreich/Russland 2017, 127 Min.,
Regie: Andrei Zvyagintsev

Buch: Oieg Negin
Kamera: Mikhail Krichman
Schnitt: Anna Mass
mit: Maryana Spivak, 
Matvey Novikov,
Aleksey Rozin
 
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Wind River

A film by Taylor Sheridan. In eng­lish with ger­man subtitles.

A blank spot on the map, rug­ged and relent­less. The win­ters here in Wyoming are espe­ci­al­ly tough, with tem­pe­ra­tures going down to the minus dou­ble digits. When you run out­side in the wil­der­ness, your lungs might burst. That‘s what see­med to have hap­pen­ed to a young woman who is dis­co­ver­ed in the snow by hun­ter and tra­cker Cory Lambert. Her body isn‘t just lying any­whe­re, but on the edge of the Arapaho and Shoshone Native American reser­va­ti­on Wind River and the vic­tim is also Arapaho. That makes the case unim­portant to the sta­te poli­ce. The Native American aut­ho­ri­ties should deal with it. Young FBI agent Jane Banner is sent the­re from her trai­ning site in Las Vegas 800 kilo­me­ters away. It starts out as a for­ma­li­ty, but the more she founds out about the con­di­ti­ons on the reser­va­ti­on, the more she feels it is her duty to sol­ve the case. With the help of Cory who is more invol­ved in the case than she first thinks, she sear­ches for traces to find out what hap­pen­ed that night.

In the Native American reser­va­ti­on count­less young woman die and dis­ap­pear every day and their cases remain unsol­ved. Taylor Sheridan, the pri­ze-win­ning screen­wri­ter of films like SICARIO and HELL OR HIGH WATER, dedi­ca­tes his direc­to­ri­al debut to them. WIND RIVER is a devas­ta­ting stu­dy in loss, a keen­ly obser­ved socio­gram, and a ner­ve-rack­ing thril­ler. The indie film is car­ri­ed by Jeremy Renner‘s sen­si­ti­ve por­tra­y­al of Cory. The powerful images of the relent­less land­scape and the score by Warren Ellis and Nick Cave round out Sheridan‘s film and make it a film that sticks with you long after it‘s over.

Lars Tunçay | indiekino.de, Translation: Elinor Lewy

 


 
Credits:
USA 2017, 107 Min., engl. OmU

Regie: Taylor Sheridan
Drehbuch: Taylor Sheridan
Kamera: Ben Richardson
Schnitt: Gary Roach
Musik: Warren Ellis
mit: Jeremy Renner, Elizabeth Olsen, Gil Birmingham, Jon Bernthal
 
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