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A film by Jafar Panahi. In Farsi with German subtitles.

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Vahid, who was once impri­so­ned and tor­tu­red by the Iranian aut­ho­ri­ties, meets a man he belie­ves to have been his most sadi­stic tor­tu­rer. He can’t be sure though, as he was blind­fold­ed during the inter­ro­ga­ti­ons. Intent on vio­lent reven­ge but afraid of hur­ting an inno­cent per­son, he kid­naps the man and asks ano­ther for­mer inma­te to cor­rob­ora­te his sus­pi­ci­on. Neither abso­lut­e­ly con­fi­dent, they deci­de to track down other sur­vi­vors. The group keeps gro­wing as they dri­ve around in Vahid’s van with their pri­soner in tow, despera­te­ly pur­suing a cer­tain­ty that remains just bey­ond reach. A taut thril­ler nuan­ced by an under­cur­rent of absur­dist far­ce, YEK TASADOF‑E SADEH, win­ner of this year’s Palme d’Or, is Jafar Panahi’s most out­spo­ken and expli­cit­ly poli­ti­cal film to date. That it was made after he was hims­elf released from Tehran’s noto­rious Evin Prison gives the sto­ry an obvious auto­bio­gra­phi­cal dimen­si­on. Yet its moral impli­ca­ti­ons extend bey­ond the per­so­nal to encom­pass all of Iranian socie­ty in the wake of the Woman, Life, Freedom pro­tests. Now that new free­doms have been achie­ved, ope­ning an unpre­ce­den­ted win­dow of oppor­tu­ni­ty, the film sets the desi­re for ven­ge­an­ce against the impe­ra­ti­ve to keep pushing for­ward. (Giovanni Marchini Camia)

Credits:

Yek tasa­def sadeh یک تصادف ساده,
IR/FR/LU 2025, 102 Min., far­si OmU
Regie: Jafar Panahi
Kamera: Amin Jafari
Schnitt: Amir Etminan
mit: Vahid Mobasseri, Maryam Afshari, Ebrahim Azizi, Hadis Pakbaten

Trailer:

EIN EINFACHER UNFALL Trailer OmU German | Deutsch

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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

Trailer:

Der Fremde – Trailer OmU

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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

Trailer:

Yi Yi – Trailer OV/d/f

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Sorry, this ent­ry is only available in Deutsch.

3.12. um 18:00. Einführung: Bartek Tesarz (Polnisches Institut Berlin)

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Der Film beginnt mit dem Zitat eines Hochschullehrers: „Ich muss euch ver­ge­wal­ti­gen, damit euch nicht das Leben ver­ge­wal­tigt.“ Man ahnt also schon früh, wor­um es geht – Hierarchien im Bildungswesen und wie leicht es ist, sie zu miss­brau­chen. Das erle­ben wir am Beispiel einer Gruppe jun­ger Menschen, die kurz vor dem Abschluss ihres Schauspiel-Studiums an der Filmhochschule Łódź ste­hen. Sie wol­len in Eigenregie „Lady Macbeth“ insze­nie­ren, die Aufführung ent­schei­det über ihre beruf­li­che Zukunft.

Zur Unterstützung wird den Studierenden der erfah­re­ne Jacek zur Seite gestellt. Der ist bes­tens ver­netzt und ver­spricht dem Nachwuchs einen gro­ßen Auftritt in einem renom­mier­ten Theater – womit er auto­ma­tisch eine Machtposition ein­nimmt. Die nutzt er skru­pel­los aus, indem er die Schauspieler*innen mani­pu­liert, gegen­ein­an­der aus­spielt und psy­chisch wie phy­sisch an ihre Grenzen bringt – angeb­lich aus päd­ago­gi­schen Gründen. Wie lan­ge spie­len sie die­ses Spiel mit?

Polen hat­te 2021 einen #metoo-Fall in der Filmhochschule Łódź, der gro­ße media­le Aufmerksamkeit erreg­te und hier fil­misch auf­ge­ar­bei­tet wird. Der Fokus liegt nicht auf dem Täter und sei­ner Motivation, son­dern auf den Opfern. Dabei haben auch eini­ge noch unbe­kann­te Nachwuchstalente – allen vor­an Nel Kaczmarek als Protagonistin Maja – die Chance, ihr Können vor der Kamera zu bewei­sen. [Rainer Mende]

Korek Bojanowski (geb. 1993) stu­dier­te Regie in Paris sowie Drehbuch in Warschau und betreibt das Warschauer Studiokino „Amondo“. Der Drehbuchautor und Produzent ver­öf­fent­lich­te als Regisseur drei kur­ze Spiel- und Dokumentarfilme, bevor er mit „Loss of Balance“ sei­nem ers­ten lan­gen Spielfilm drehte.

Utrata rów­no­wa­gi
PL 2024
R/B: Korek Bojanowski
98 min, OmeU
B: Korek Bojanowski & Katia Priwieziencew
K: Jakub Czerwiński
S: Filip Dziuba
M: Wojciech Frycz
D: Nel Kaczmarek, Tomasz Schuchardt, Oskar Rybaczek, Angelika Smyrgała, Mikołaj Matczak, Maria Wróbel, Maksymilian Piotrowski, Pola Jodłowiec u. a.

UTRATA RÓWNOWAGI | ZWIASTUN | Dystrybucja Mówi Serwis

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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DIE JÜNGSTE TOCHTER | Trailer OmU | Jetzt im Kino!

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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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Das Verschwinden des Josef Mengele | TRAILER

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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

Trailer:

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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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SORRY, BABY | Official Trailer (EN/de)

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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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Trailer:

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