Ahead of her time: an Italian story, which resonates today, about a brave woman’s struggle against patriarchal values.
Defying the social norm in 1960s Sicily, Lia wants to take charge of her life. When she rejects Lorenzo, the son of a local businessman, he uses brutal means to kidnap her. To save her honor, Lia must consent to marrying the man who raped her. Instead, though, she embarks on an unprecedented legal battle for self-determination.
Credits:
IT 2023 – 102 Min. Italienische OmU Regie: Marta Savina Kamera: Francesca Amitrano Schnitt: Paola Freddi
Ahead of her time: an Italian story, which resonates today, about a brave woman’s struggle against patriarchal values.
Defying the social norm in 1960s Sicily, Lia wants to take charge of her life. When she rejects Lorenzo, the son of a local businessman, he uses brutal means to kidnap her. To save her honor, Lia must consent to marrying the man who raped her. Instead, though, she embarks on an unprecedented legal battle for self-determination.
Credits:
IT 2023 – 102 Min. Italienische OmU Regie: Marta Savina Kamera: Francesca Amitrano Schnitt: Paola Freddi
Kurdwin Ayub electrified with her widely-lauded feature debut SONNE (2022), depicting a Muslim girl’s experiences growing up in Vienna. She flips the perspective in MOND, following an Austrian woman on a work trip to Jordan. In an inspired casting choice, choreographer and performance artist Florentina Holzinger plays Sarah, a retired mixed martial arts fighter hired as a personal trainer by a wealthy family in Amman. What initially appears like a dream job—swanky hotel, private driver—quickly turns troubling. The teenage sisters she is supposed to train show no interest in the sport. Their palatial home is always deserted, apart from the cleaning staff and several bodyguards, who patrol the house as if it were a prison. The girls aren’t allowed to access the WiFi network and seem shut off from the outside world. When Sarah enquires about the identity of her employers at the hotel bar and mentions their family name, the previously friendly barman abruptly ends the conversation. While keeping the story in a realist register, Ayub borrows tropes from the thriller and horror genres to generate mounting suspense and upend the archetype of the white saviour, thus forcing viewers to confront their own preconceptions. (Giovanni Marchini Camia)
Credits:
AU 2024, 93 Min, deutsch/arabisch/englische OmU Regie: Kurdwin Ayub Kamera: Klemens Hufnagl, Schnitt: Roland Stöttinger, mit: Florentina Holzinger, Andria Tayeh, Celina Antwan, Nagham Abu Baker, u.a.
The Session Man, a 90-minute documentary feature film, tells the story of Nicky Hopkins, the highly gifted and prolific session pianist, and unsung hero.
Nicky not only played with The Kinks, The Who, The Rolling Stones and The Beatles, he also played on solo albums of all four members of the Beatles in the early part of a stellar career that spanned over 30 years. During that time, he contributed to over 250 albums and a vast number of single releases.
Nicky’s legendary piano riffs and wonderful musical motifs helped ordinary tracks become extraordinary and iconic. So many of them remain popular today. The generations that followed the Golden Era of Rock And Roll soon discover those iconic tracks that made Nicky Hopkins a legend amongst his peers – tracks like Revolution by The Beatles, Like A Rainbow, Sympathy For The Devil and Angie by the Rolling Stones, Jealous Guy by John Lennon from his Imagine album and You Are So Beautiful by Joe Cocker.
Nicky’s story is told in the film by Albert Lee, Antonia Cipollina, Arthur Rochester, Benmont Tench, Bill Wyman, Billy Nicholls, Bro Paul Brown, Chris Kimsey, Chris Welch, Chuck Leavell, Dave Davies, Glyn Johns, Graham Parker, Gray Levett, Greg Phillinganes, Harry Shearer, Helen O’Hara, Jack Casady, Jim Keltner, Joe Tansin, John Goddard, Jorma Kaukonen, Julian Dawson (Nicky’s biographer – author of And on Piano… Nicky Hopkins), Keith Richards, Merrell Fankhauser, Mick Jagger, Mike Hurst, Mike McCartney, Moira Hopkins (Nicky’s widow), Morgan Fisher, Nils Lofgren, Paddy Milner, Pete Edmonds, Pete Sears, Pete Townshend, Peter Frampton, PP Arnold, Rory Kaplan, Sarah Sleet (CEO of Crohn’s & Colitis UK), Shel Talmy, Slim Jim Phantom, Terry Reid and Tom Speight.
The Session Man’s narrator, Bob Harris, former presenter of the BBC’s Old Grey Whistle Test, had no hesitation at the end of the film in confirming that, “Nicky Hopkins’ contributions made him rock and roll’s greatest session man.” https://thesessionmanfilm.com/
The world seems to be coming to an end, teeming with the vestiges of a human presence. Cat is a solitary animal, but as its home is devastated by a great flood, he finds refuge on a boat populated by various species, and will have to team up with them despite their differences. In the lonesome boat sailing through mystical overflowed landscapes, they navigate the challenges and dangers of adapting to this new world.
A therapist whose interests lie in alternative ways to help the sick and infirm is forced to balance the demands of her professional life with those of her ageing parents and older brother, in Tim Ellrich’s sensitive but uncompromising drama.
Holle works as a spiritual healer, tending to clients with serious illnesses and chronic conditions. One of four siblings, she devotes much of her time to caring for her ageing parents, a commitment that strains her relationship with her partner. When her mother suffers a fall and is hospitalised, Holle faces mounting challenges, particularly in relation to her brother Sven, who has schizophrenia and has lived a secluded life in their parents’ attic for years.
Inspired by filmmaker Tim Ellrich’s own family experiences and shot on location at his childhood home, Im Haus meiner Eltern is an incisive exploration of the toll caregiving takes on families. Filmed in stark black and white, its visuals capture both the exhaustion of caregiving and the claustrophobia of lives bound by duty. Ellrich avoids easy judgments, instead offering a thoughtful reflection on how society treats the elderly and infirm and the friction these responsibilities create within families – from those who shoulder the burden to those who keep their distance. With empathy and an understated approach, Im Haus meiner Eltern, examines the unspoken tensions and quiet sacrifices that define family life under pressure.
Vanja Kaludjercic
Credits:
DE 2025, 95 Min, Regie: Tim Ellrich Kamera: Konstantin Pape Schnitt: Tobias Wilhelmer mit: Jenny Schily, Ursula Werner, Manfred Zapatka und Jens Brock
Ahead of her time: an Italian story, which resonates today, about a brave woman’s struggle against patriarchal values.
Defying the social norm in 1960s Sicily, Lia wants to take charge of her life. When she rejects Lorenzo, the son of a local businessman, he uses brutal means to kidnap her. To save her honor, Lia must consent to marrying the man who raped her. Instead, though, she embarks on an unprecedented legal battle for self-determination.
Credits:
IT 2023 – 102 Min. Italienische OmU Regie: Marta Savina Kamera: Francesca Amitrano Schnitt: Paola Freddi
Kurdwin Ayub electrified with her widely-lauded feature debut SONNE (2022), depicting a Muslim girl’s experiences growing up in Vienna. She flips the perspective in MOND, following an Austrian woman on a work trip to Jordan. In an inspired casting choice, choreographer and performance artist Florentina Holzinger plays Sarah, a retired mixed martial arts fighter hired as a personal trainer by a wealthy family in Amman. What initially appears like a dream job—swanky hotel, private driver—quickly turns troubling. The teenage sisters she is supposed to train show no interest in the sport. Their palatial home is always deserted, apart from the cleaning staff and several bodyguards, who patrol the house as if it were a prison. The girls aren’t allowed to access the WiFi network and seem shut off from the outside world. When Sarah enquires about the identity of her employers at the hotel bar and mentions their family name, the previously friendly barman abruptly ends the conversation. While keeping the story in a realist register, Ayub borrows tropes from the thriller and horror genres to generate mounting suspense and upend the archetype of the white saviour, thus forcing viewers to confront their own preconceptions. (Giovanni Marchini Camia)
Credits:
AU 2024, 93 Min, deutsch/arabisch/englische OmU Regie: Kurdwin Ayub Kamera: Klemens Hufnagl, Schnitt: Roland Stöttinger, mit: Florentina Holzinger, Andria Tayeh, Celina Antwan, Nagham Abu Baker, u.a.
The film is far from a straightforward portrayal of its subject. It doesn’t just focus on good and noble feelings, nor does it fall into the sort of simplistic binaries that set the “purity” of people with disabilities against the cynicism of society. Simón is deceitful, more than happy to lie and unafraid to get his friends into trouble, yet they never judge or punish him nor label him as problematic. At home, where his mother’s goodwill has been exhausted, a sense of apathy has set in that threatens to usurp the obvious love she feels for him. Luis’ film smartly refrains from judging her, as she seems unable to find a solution to her son’s unexplained antics; she only watches in surprise as Simón speaks less and less, imitates physical tics and retreats into his own personal version of disability. Engrossing, and narrated with great intelligence and subtlety, the film layers nuance upon nuance in its suitably ambivalent portrait of the titular character. With another enigmatic, yet empathetic performance by up-and-coming actor Lorenzo Ferro, SIMÓNDELAMONTAÑA is a remarkable debut feature that dares to explore the murky waters of human behaviour. (Diego Lerer)
Kurdwin Ayub electrified with her widely-lauded feature debut SONNE (2022), depicting a Muslim girl’s experiences growing up in Vienna. She flips the perspective in MOND, following an Austrian woman on a work trip to Jordan. In an inspired casting choice, choreographer and performance artist Florentina Holzinger plays Sarah, a retired mixed martial arts fighter hired as a personal trainer by a wealthy family in Amman. What initially appears like a dream job—swanky hotel, private driver—quickly turns troubling. The teenage sisters she is supposed to train show no interest in the sport. Their palatial home is always deserted, apart from the cleaning staff and several bodyguards, who patrol the house as if it were a prison. The girls aren’t allowed to access the WiFi network and seem shut off from the outside world. When Sarah enquires about the identity of her employers at the hotel bar and mentions their family name, the previously friendly barman abruptly ends the conversation. While keeping the story in a realist register, Ayub borrows tropes from the thriller and horror genres to generate mounting suspense and upend the archetype of the white saviour, thus forcing viewers to confront their own preconceptions. (Giovanni Marchini Camia)
Credits:
AU 2024, 93 Min, deutsch/arabisch/englische OmU Regie: Kurdwin Ayub Kamera: Klemens Hufnagl, Schnitt: Roland Stöttinger, mit: Florentina Holzinger, Andria Tayeh, Celina Antwan, Nagham Abu Baker, u.a.
Eine Kämpferin für den Frieden ohne Respekt vor Konventionen, eine Aktivistin für den Schutz der Umwelt, die ihrer Zeit weit voraus war.
Petra Kelly glaubte daran, dass man als einzelner Mensch die Welt verändern kann. Auf dem Höhepunkt des Rüstungswettlaufs zwischen Ost und West zu Beginn der 1980er Jahre brachte sie Hunderttausende auf die Straße, um gegen die Stationierung von Atomraketen auf westdeutschem Boden zu protestieren. Petra Kelly wurde nicht nur als Mitbegründerin der Grünen und als deren Star berühmt, sondern auch als eine Frau, die in der Lage war, eine neue, weltverändernde Politik zu begründen und es mit zwei Supermächten aufzunehmen.
Sie wurde zur Symbolfigur der Friedensbewegung in Europa und war dabei sowohl im Austausch mit ostdeutschen Bürgerrechtlern wie Wolf Biermann als auch mit internationalen Mitstreiter:innen wie Joan Baez oder dem Dalai Lama. Bereits vor 40 Jahren forderte sie unerbittlich die radikale Transformation der Gesellschaft. Dabei waren Umwelt‑, Friedens- und Menschenrechtsfragen für sie gleichbedeutend.
Es gilt, mit PETRAKELLY – ACTNOW! eine politische Aktivistin wiederzuentdecken, die in ihrem Kampf für Frauenrechte und Klimaschutz und ihrer internationalen Ausrichtung und Vernetzung eine Ausnahmeerscheinung war. Ihrer Zeit weit voraus und heute ein Vorbild für viele junge Menschen, die zur Rettung unseres Planeten auch außerhalb des Politikbetriebes ihr Recht auf bürgerschaftliches Engagement in Anspruch nehmen.
„Wenn wir mit unserem zivilen Ungehorsam Gesetze überschreiten, dann ist es deswegen, weil wir mit einem höheren Gesetz, dem Gesetz des Gewissens rechnen, und weil wir auch wissen, dass eine Macht des Staates nicht absolut ist und deswegen ist der zivile Ungehorsam unsere Antwort.“ Petra Kelly im Bundestag
Mit Luisa Neubauer, Otto Schily, Lukas Beckmann, John Kelly u v.a.
Credits:
DE 2024, 104 Min., Regie:: Doris Metz Kamera: Sophie Maintigneux Schnitt: Nina Ergang
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