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A room with balcony. The sun is shining. A woman misses a man. In their dreams, the long shadows on the floor and walls turn into arms that embrace them. A hand touches her hip and gently strokes her body. Fingers intertwine with theirs and a body seduces them subtly and quietly into a dance. A poetic and sensual film about the absence. Duscha Kistler
The FilmFestival Cottbus dedicates an exhibition to the Lusatian artist Maja Nagel and shows excerpts from her versatile oeuvre: drawn metamorphoses, documented performances, memories of villages dredged away and a poetic contemplation of the disappearance of the Muskauer Heide. You can only see well with your heart, the Little Prince said. Maja Nagel develops here with a pencil a reflection on seeing, underlined by a song by the Sorbian composer Juro Mětšk.
Martin doesn't have it easy. First the move to rural Bellbach, then Olivers Faust meets him and finally he falls in love with Silke. Damned hard for a 12-year-old who's a little too small for his age on top of that. But Martin won't let it get him down. Martin has to move with his parents to the province nest Bellbach. Already on the first day he makes himself there more enemies than friends. His baseball cap with the inscription "Champion" brings him to all misfortune also the name "Stupid cap". When Martin meets Silke, the tide seems to turn. But Silke is friends with Oliver of all people, his new arch-enemy. Based on his brother's novel, Johannes Schmid tells an authentic story about a 12-year-old boy's search for security, friendship and his own identity.
A minority under National Socialism: Carinthian Slovenes fought with the partisans or the Wehrmacht. Persecuted and deported, marginalized to this day. Men and women remember. Her counterpart speaks her language - a young woman with her own questions about a traumatic history that is taboo in the majority society. "When we die, the Nazis will tell their story again," an old woman explains in response to the director's question why she recalls images that visibly burden her. The film concentrates entirely on the characters and their reports, from which a collective narrative is formed. The Mračnikar website directs this process by bringing in themes such as gender relations among partisans, questioning what has been said, and taking the events of the past into the present. After the war, many Austrians resented the Carinthian Slovenes for having fought Hitler. The struggle for bilingualism reached a climax - also discussed here - in the "Ortstafelsturm" of 1972. A large part of these memories would have been irretrievably lost today if Andrina hadn't recorded them at Mračnikar Their cinematic examination of them impressively shows that even the young generation cannot have a national identity without knowledge of the past. GL
Everyday life in an old people's home, seen through the eyes of a filmmaker who spends his retirement there: this self-observation with a handheld camera can be amazingly exciting and touching when it comes to Ante Babaja, the now 80-year-old old master of Croatian film. A cinematic legacy, with echoes of quiet humour. Ante Babaja is one of the old masters of Croatian cinema. With his experimental, associative works he has had a decisive influence on the film history of his country. In GOOD MORNING we see Babaja herself on the screen: as an 80-year-old in an old people's home. A self-observation between filmic testament -Babaja cuts in excerpts from his earlier films and contemporary document, about life in the home. Sometimes as a sober portrait, sometimes as a thoughtful study, often with echoes of quiet Alltaghumor, it's all about aging, transience and faith.
"Young Albanian murderer crosses the border and faces the Greek police", a newspaper wrote in 2002. On the basis of this true story, a film was made that won many awards in Greece. It is about the transformation of a 22-year-old boy who gets into a deep state of thinking about his botched life in prison. The trigger for this radical reflection is a doctor from Germany who has been imprisoned for many years. In 2002 an Athenian newspaper reported: "Young Albanian murderer crosses the border and surrenders to Greek police." Based on this news and numerous interviews with the perpetrator, the idea for this cinematic parable was born: A 22-year-old Albanian, with a cassette of Greek rock and the dream of a career as a musician, illegally crosses the border and commits a robbery in Athens. He is deported to his home country and ends up in prison for an earlier theft. There he meets the imprisoned German doctor Christof and begins to think about his life.
The Marseillaise to images of soldiers, battles, marches and cheering masses: the victory of freedom, equality and brotherhood over the Hitler barbarians. But the course of the pictures falters and reveals another truth about winners and losers, while the song continues to buzz as a fast hit ... Grit Lemke
The sisters Anne, Marianne and Iris meet at their mother's birthday after a long time. Immediately the accumulated conflicts between the very different women unload. Before the big family celebration can finally rise, some chaos must be eliminated. Melancholic family drama spiced with humor. Anne, a freaked out musician, notoriously broke and yet bursting with optimism, is the only one of three sisters who made it from the Anhalt province to the big, wide world. On the occasion of her mother's birthday she visits her parents' house after a long time. But the return brings quickly - how could it be otherwise - the old, well stowed conflicts to light, which are hardly noticed in everyday life. The rollers are also quickly distributed among each other again: Anne is the black sheep of the family and yet she has always been able to rely on the pride of her parents. Marianne occupies the role of the cheerful Frau Mustermann, who seems to have done nothing wrong with a solid job and her own home. Iris, on the other hand, functions as a housekeeper and nurse for the mother without room for an independent life and endures her moods and uncontrolled alcohol consumption with stoic perseverance and compulsive perfectionism. Before the big birthday celebration can finally take place, some chaos has to be removed - some uncomfortable truths are pushing for pronunciation. The director tells a melancholic family drama spiced with bilious humour with poetically indulging camera movements through the seemingly tranquil village life. Above all through the great play of the four actresses the heaviness of the treated topics is broken up, in order to sum up encouragingly at the end: everything usually looks worse than it is.
From Kazakhstan to Kyrgyzstan, that should not be a problem for the migrant workers. One of them lost his father. The dead man is supposed to cross the border, but has no migration permit. Even for money, the border official won't let them pass. The son loses patience and puts everyone in danger. TD A country road in Kazakhstan. Kyrgyz migrant workers sit on the loading area of a small truck. This time, however, they have a deceased with them who must be buried immediately. The driver promises them an unproblematic border crossing. Everything seems to be in order: the passports, the death certificate. But then the commander demands the dead man's migration card. A bribe attempt fails. The grieving son can no longer bear the harassment of the border guards and loses his nerve: "You can let anything through for money: Drugs, smugglers, guns. Why would a dead man have a migration card?!".
Midsummer in Latvia: in the shortest night of the year the whole country seems to be upside down. Curt searches for his Latvian half-sister Maia, Livia finds herself in the wrong country, businessman Leonid tries out "magic mushrooms" and nymphomaniac Aida has to introduce her Japanese boyfriend to the xenophobic parents... Turbulent comedy in international star cast from a night with little sleep and lots of love. Midsummer in Latvia - in the shortest night of the year the whole country seems to be upside down. A young American arrives in Riga to search for his Latvian half-sister Maia. Already at the airport the inconvenience starts and Curt starts to hate the country. But the talkative taxi driver Oskar and other events slowly change his mind. Livia, on the other hand, a French poet, wants to bury her recently deceased husband in Lithuania. But only at Riga airport does the funeral director Peteris reveal to her that she is in the wrong country - and they take on the long journey through Latvia. At the same time, two firefighters from England arrive at their colleagues in the Latvian twin city and get to know Latvian customs and above all (midsummer) nights. Karl, Axel and Leonid want to do international business. However, not only the women stand in their way, but also "magic mushrooms". Meanwhile the nymphomaniac Aida has completely different problems. She's on her way to her family with her new boyfriend. The catch here: the parents are xenophobic and friend Yuki is Japanese... The next morning all the protagonists - and a kangaroo - meet in the hospital... A wild comedy about life in Latvia on Midsummer Night - a night with little sleep and lots of love.
Todor in Trieste: The exiled Serb keeps his head above water in the Italian port city by smuggling cigarettes. One day he encounters an unconscious woman, apparently a forced prostitute, who has been shipped to the West. With a growing affection for the unknown, his previous existence gets out of joint. Meditative portrait in a place steeped in history where Europe is currently passing through. Todor, exiled Serb and owner of an ancient fishing boat, makes his way through the port of Trieste by smuggling cigarettes. One day, when he finds an unconscious woman in a wooden box, apparently shipped to the West as a forced prostitute, Todor has to choose between loyalty to his opaque clients and a growing affection for the unknown. Artistically photographed, the meditative portrait of two wounded souls tells of a place where Europe is passing through, perhaps at some point to find itself.