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The director Lech Majewski has always looked beyond the borders of the famous Polish Film School. And so he has also shown Silesia in a new light - as a surreal panopticon of a disturbed perception on the verge of madness. An innocent boy observes a group of primitive painters led by an old master. On his deathbed he reveals to his disciples the mystery of decline and the way to salvation. Will the group of crazy painters succeed in saving humanity? The story of Upper Silesia as a fantasy of redemption is told from the boy's point of view. Free of classical, narrative forms, Majewski draws the region in the crosshairs of the many cultures and political currents of the 20th century as a fairytale-like picture sheet full of wonders, populated by Adolf Hitler as well as by Saint Barbara and the guardian angels. The film is not only a story about the Europe of the 20th century, but also a treatise on painting. Upper Silesia and its landscape unfold as primitive works of art á la Henri Rousseau, Marc Chagall or Nikifor and in its fairytale beauty as home of hope and innocence. KM
Through struggle to victory - Cottbus in 2000, the FC Energy is fighting for class retention. With the gaze of a stranger, the director explores what first division football means in a city whose regional industry has just been liquidated. For one season the film accompanies the kickers Moussa Latundji and Franklin Bittencourt - both foreigners in an environment described as right-wing extremist; trainer Eduard Geyer - a steadfast East German; the "Laubenpieper vom "Flotten Wuchs"; Inge from the "Sandower Bierstube" and her regular customers; master butcher Jende and the boys in front of "Violas Kiosk" in Schmellwitz. With an unemployment rate of 20 percent, the region has long been in the third economic league and is struggling for dignity. A multi-faceted time picture. GL
Summer 1968 in Osijek. The 17-year-old Tomo is supposed to bring fame and honour to the Slavonian small town at the youth competition in rowing, because President Tito himself is expected. But Tomo is much more interested in girls than in socialist physical culture ... Summer 1968: The small Slavonic town of Osijek prepares for the junior rowing competition; President Tito has announced his visit. The 17-year-old Tomo should impress the high guest with sportsmanship and noble socialist morals. But he is more interested in girls than in rowing and Tito's 'Third Way'. With much love, the director portrays the everyday life of his hometown, describes the peaceful coexistence of political ritual and lived normality, of puberty and politics. But at some point it is over with the lightness of youth, and Tomo has to grow up. BB
A rare cinematic document: Michaela and Andreas want to marry sorbically. The wedding bitters are ordered, planned, a dress bought, guests invited. But it turns out that reality does not quite correspond to the old custom. The film follows the couple's preparations and everyday life. What does it mean to have a sorbian dare in the year 2000? With Andreas riding Easter, Michaela singing Sorbian church songs in the choir and both on the pilgrimage to Rosenthal we experience an almost intact tradition. It becomes clear, also in discussions with the priest from Ralbitz, how closely this is connected with the Catholic religion and its great integrating power. At the same time, a sermon against the "godless hustle and bustle" of youth rages, Braschka complains about growing German shares in Sorbian weddings and we meet young Sorbs who hardly speak their language anymore. And also Michaela will not marry in traditional costume, but in white. The idyll is fragile - even if the songs of Měrćin Weclich urge you not to cut your roots. The film was controversially discussed in the Sorbian environment, as it shows customs not as an ideal type, but as a dynamic, lived practice - while customs here are often portrayed as seemingly unchangeable in their supposedly "correct" course. GL
The new series "Home | Domownja. Sorbian Life in Film" illuminates the cultural heritage of the Lusatian minority. The short films VOR DER TÜR, ELSBETH MASCHKE IN CRASHLAND and AUS DEM LEBENE EINES RUMGEHERS will be shown. The film combines silhouette animation with real shots, the present with the past, the traditional with the invented, Sorbian and German legends, legends and stories are visualized and told in multimedia.