Parasol, from 24.8.
Einsteins Nichten, from 24.8.
Haus ohne Dach, from 31.8.
Magical Mystery oder: Die Rückkehr des Karl Schmidt, from 31.8.
EISZEIT FilmDinner presents:
Gelobt sei der kleine Betrüger (OmU), 17.8.
Wish You Were Here:
Der Bauunternehmer Ahmad (Ahmad Thaher) verwendet das Geld, das er gerade für einen Bauauftrag erhalten hat, lieber dafür, sich ein Dutzend Laptops zu kaufen, die er anschließend gewinnbringend verscherbeln will. Doch davon ist sein Auftraggeber herzlich wenig begeistert und er lässt Ahmad von der Polizei festnehmen und ins Gefängnis stecken. Drei Monate muss Ahmad absitzen, was ihn zunächst ziemlich bedrückt, doch er stellt schnell fest, dass das komfortable Leben hinter Gittern eigentlich viel besser ist, als es sein Leben in Freiheit jemals war: Es gibt genug zu essen und er hat seine Ruhe vor Geldeintreibern, die ihn sonst plagen. Außerhalb der Gefängnismauern läuft es jedoch weniger rund: Die von Ahmad bestellten Laptops stecken im Zoll fest, der ermittelnde Polizist Salem (Fayez Salman el Huwaiti) will die Rechner für sich selbst und auch der Betrüger Ibrahim (Mahmoud al Massad), den Ahmad im Knast kennengelernt hat, hat ein Auge auf die Notebooks geworfen...
Arabic with German subtitles.
Length: 90 Min.
Der einstmals finstere Gru (Stimme im Original Steve Carell / auf Deutsch: Oliver Rohrbeck) hat sich im zweiten Teil in Agentin Lucy Wilde (Kristen Wiig/ Martina Hill) verguckt und aus Liebe zu ihr und seinen drei Adoptivtöchter Margo (Miranda Cosgrove), Edith (Dana Gaier) und Agnes (Nev Scharrel) die Seiten gewechselt: Gemeinsam mit seiner Angetrauten bekämpft er nun Bösewichte. Zu diesen gehört auch Balthazar Bratt (Trey Parker/ Joko Winterscheidt), ein Super-Bösewicht und 80er-Jahre-Fan mit Schulterpolstern und Vokuhila, der hinter einem riesigen rosa Diamanten her ist. Während Gru mit der Jagd auf Bratt beschäftigt ist, bekommt er Besuch von seinem Zwillingsbruder Dru (ebenfalls Steve Carell/ Oliver Rohrbeck). Dieser hat nicht nur volles Haar, sondern ist auch noch erfolgreicher und selbstbewusster als Gru, der nicht mal seine Minions unter Kontrolle hat – und das nervt diesen gewaltig! Doch dann holt Balthazar Bratt zu einem teuflischen Schlag aus und die ungleichen Brüder müssen sich zusammenraufen, um die Welt zu retten.
Length: 90 Min.
Anna (Anna König) und Hans (Till Butterbach) sind zusammen „Die Hannas“: Ein ausgeglichenes Langzeitpaar mit gemeinsamer Kochobsession in den eingeschlafenen Dreißigern. Doch dann treffen sie auf die ADHS-Schwestern Nico (Ines Marie Westernströer) und Kim (Julia Becker) und starten jeweils eine Affäre – ohne vom Betrug des anderen zu wissen. Dabei werden die beiden emotional durch den Fleischwolf gedreht, denn auch Nico und Kim verbindet etwas, das die Hannas nicht erahnen.
This movie screens only in the original German version.
Spätsommer im Burgund: Es gilt, den Wein zu ernten – und weil sein Vater kurz vorm Tod steht, kehrt der dreißigjährige Jean (Pio Marmaï) aufs idyllische Familienweingut zurück, um seinen Geschwistern Juliette (Ana Girardot) und Jérémie (François Civil) zu helfen, zu denen er jahrelang keinen Kontakt hatte. Juliette und Jérémie sorgten zwischenzeitlich für den Fortbestand des Familienbetriebes und freuen sich bei der Weinlese über jede Unterstützung, die sie bekommen können. Doch die drei Geschwister merken schnell, dass manche Wunden auch nach Jahren noch offen sind, dass manche Wunden auch nach Jahren noch wehtun. Eine harte Entscheidung steht bevor: Soll die Familientradition fortgesetzt werden – oder sollen Jean, Juliette und Jérémie jeweils ihren eigenen Weg gehen und damit eine Zäsur wagen?
This movie screens in the original French version with German subtitles.
Length: 114 Min.
Based on the true story of acclaimed music icon "Dalida" born in Cairo, who gained celebrity in the 50s, singing in French, Spanish, Arabic, Hebrew, German, Italian, playing in awarded Youssef Chahine's picture "Le Sixième Jour", and who later committed suicide in 1987 in Paris, after selling more than 130 million records worldwide.
Length: 128 Min.
A comedy wrapped around a tragedy. It starts as a celebration and ends with blood on the floor.
Length: 68 Min.
Baby is a young and partially hearing impaired getaway driver who can make any wild move while in motion with the right track playing. It's a critical talent he needs to survive his indentured servitude to the crime boss, Doc, who values his role in his meticulously planned robberies. However, just when Baby thinks he is finally free and clear to have his own life with his new girl friend, Deborah; Doc coerces him back for another job. Now saddled with a crew of thugs too violently unstable to keep to Doc's plans, Baby finds himself and everything he cares for in terrible danger. To survive and escape the coming maelstrom, it will take all of Baby's skill, wits and daring, but even on the best track, can he make it when life is forcing him to face the music?
Length: 113 Min.
Fernando, a solitary ornithologist, is looking for black storks when he
is swept away by the rapids. Rescued by a couple of Chinese pilgrims, he
plunges into an eerie and dark forest, trying to get back on his track.
Length: 118 Min.
In a patriarchal society, an ordinary Georgian family lives with three generations under one roof. All are shocked when 52-year-old Manana decides to move out from her parents' home and live alone. Without her family and her husband, a journey into the unknown begins.
Wären Wildschwein und Fuchs doch bloß schnell abgehauen, statt der Eintagsfliege beim Schlüpfen zuzusehen. Jetzt müssen sie feststellen, dass die junge Fliege geradezu bezaubernd ist. Aber wer bringt ihr nun bei, dass sie nur diesen einen Tag zu leben hat? Kurzerhand behaupten die beiden, der Fuchs sei der Todgeweihte. Und siehe da: Die frisch Geschlüpfte beschließt voller Mitgefühl für ihren neuen Freund, dass jetzt eben das ganze Leben in einen Tag muss – ein ganzes Leben inklusive dem ganz großen Glück!
This movie screens only in the original German version.
For most of the world, the Palestinian First Intifada (1987-1993) is a forgotten political event even though it ended the Israeli military occupation of the West Bank and Gaza. The civilian unarmed insurgency that swept through the Occupied Territories, included protests, widespread refusal to pay taxes to the Israeli army, civil disobedience, and the creation of an alternative economy as a stepping stone for self-sufficiency and sovereignty.
In the town of Beit Sahur a group of men and women decide to buy cows, eighteen exactly, to produce their own milk as a cooperative. Their venture is so successful that the farm becomes a landmark and the cows local celebrities… until the Israeli army takes note declares the cows as a ‘threat to the national security of the state of Israel’. The dairy has to operate in the underground and the cows have to go into hiding.
The Wanted 18 revisits that compelling chapter in the recent history of Palestine, from the perspective of the cows and the activists, using stop-motion animation, drawings, archival footage and interviews, the outcome is an enchanting reflection on the ingenuity and power of grassroots activism, that underlines the wisdom that violence is a failure of the imagination.
75 minutes, in Arabic and Hebrew with subtitles in English.
Production credits: Produced by: Ina Fichman, Saed Andoni, Dominique Barnaud; Directed by: Amer Shomali & Paul Cowan, Written by: Paul Cowan; Cinematography: GermanGutierrez, Daniel Villeneuve; Animation: Michelle Lannen (Design), Dominique Coté (Art Direction), Myriam Elda Arsenault (Head Animator); Drawings: Amer Shomali; Edited by: Aube Foglia; Original Music by: Benoit Charest. Voices: Alison Darcy, Heidi Foss, Rosann Nerenberg, Holly Uloth O’Brien.
Ali (Ali Sobhy) is in love with Nada, a goat, whom he believes is his fiancée. In the poor neighborhood of Cairo where he lives, only his friend Kamata (Osama Abu El Ata), a bus driver, indulges his folly, while his mother Nousa (Salwa Mohamed Ali) tries to “cure” him by dragging him to psychiatrists, exorcists and black magic charlatans. Ibrahim (Ahmed Magdy) works as a sound engineer, but he suffers from debilitating fits of hearing sounds in his head. His only surviving family is his grandfather, who suffered from the same ailment but rendered himself deaf to find relief. Ibrahim’s mother could not withstand the pain from the same symptoms and committed suicide. One day, while Ali is visiting a psychic he meets Ibrahim, the psychic gives each a bag with three stones and promises they will heal if they throw one stone each in one of Egypt’s three “waters”, the Mediterranean, the Red Sea and the Nile river. Ali, the Goat and Ibrahim is an absurd, droll and compelling road-movie about friendship, empathy, overcoming grief and fear.
90 minutes, in Arabic with subtitles in English.
Production credits: Produced by: Mohamed Hefzy, Hossam Elouan, Guillaume de Seille; Directed by: Sherif Elbendary, Screenplay by: Ahmed Amer (based on a story by Ibrahim El Batout), Cinematography: Amr Farouk, Edited by: Emad Maher, Original Music by: Ahmed Elsawy. Cast: Ali Sobhy, Ahmed Magdy, Nahed El Sebai, Salwa Mohamed Ali, Osama Abu El Atat, Sabry Fawwaz, Asser Yassin, Gamil Barsoum.
In Street of Death, the narrator revisits a site of his youth, a lawless slum suburb pushed up against Beirut airport, where vendettas, crime, displays of power and raucous street weddings punctuate daily life. The treacherous stretch of highway was coined “street of death” after many young lives were lost as they performed motorcycle stunts. The roar and shadow of planes bearing down from the sky accentuate the claustrophobia and lack of opportunity for escape. Street of Death draws a raw, intimate and poetic portrait of a neighborhood through the stories of five inhabitants, weaving past and present, inviting a re-examination of our relationship to the turmoil of adolescence.
22 minutes, in Arabic with subtitles in English.
Production credits: Produced by: Emily Dische-Becker and Karam Ghossein; Directed by: Karam Ghossein; Written by: Karam Ghossein; Cinematography: Karam Ghossein; Edited by: Vartan Avakian; Sound: Mohamad Salameh; Sound Design: Gabòr Ripli, Jad Taleb, Ramzi Madi.
Morning Fears, Night Chants draws a portrait of a young Syrian woman who composes, sings and records protest songs in secret from her parents and family, in the hope that they will inspire others to rebel, demand freedom and believe in a better day. Neither she nor the people around her are ever identifiable on-screen. And the voices were manipulated to keep the chance of recognition to a minimum. In spite of this, the young woman continues to write and sing, so as not to stand by powerlessly, and get a small taste of the freedom she yearns for.
29 minutes, in Arabic with subtitles in English.
Production credits: Produced by: Diana El Jeiroudi, Iman Al Joundi; Directed by: Diana El Jeiroudi and Guevara Namer (credited as Roula Lattkani & Salma Al Dairy); Cinematography: Ghsoun Hamorabi; Editing: Maisam Iriqtanji; Sound: Youmen Alshahed.
Set in Marseille, in 2014, Those from the Shore follows dozens of Armenian asylum seekers as they wait for their application to be considered. They left behind them a country whose people have settled around the world for over a hundred years, a country all describe as desert, abandoned by its inhabitants, emptied of its life. The film captures the forced stillness and the impotence of waiting, life suspended in the in-between space of two countries, and two lives. In that abstracted time and space, their life escapes them completely. By the shore, they float in limbo.
84 minutes, in Armenian, French with subtitles in English.
Production credits: Produced by: Nathalie Combe and Tamara Stepanyan; Directed by: Tamara Stepanyan; Written by: Tamara Stepanyan & Jean-Christophe Ferrari; Cinematography: Tammam Hamza, Tamara Stepanyan; Edited by: Olivier Ferrari; Sound: Frédéric Maury, Jean-Marc Schick.
One, Two, Three is a 1961 comedy directed by Billy Wilder based on the 1929 Hungarian one-act play Egy, kettő, három by Ferenc Molnár. Cagney plays the role of C.R. "Mac" MacNamara, a high-ranking executive in the Coca-Cola Company, assigned to West Berlin after a business fiasco a few years earlier in the Middle East (about which he is still bitter). He aspires to become to head Coca-Cola operations in western Europe, based in London. After working on an arrangement to introduce Coke into the Soviet Union, Mac learns from his boss, W.P. Hazeltine that his daughter, Scarlett Hazeltine, a hot-blooded 17-year-old socialite daughter, is coming to West Berlin. Mac is tasked with chaperoning her. Scarlett’s two-week visit extends into two months, and Mac discovers that she has married Otto Piffl, a passionate young East German Communist. As the couple make plans to settle in Moscow to make a new life for themselves, Hazeltine and his wife announce they are due in Berlin the next day to collect their daughter. Mac has to scheme a scenario to earn the promotion to the London office. The film was shot on the eve of the construction of the Berlin wall, and by the time it was released, the sinister reality of the divided city overwhelmed its reception. It was a box office flop both in the US and in Germany, however when it was released again in 1985 and became a box office success in West Germany and in France.
With an introduction by Christoph Terhechte, presented in collaboration with the Berlinale.
104 minutes, in English, German and Russian with subtitles in English and Arabic.
Production credits: Produced by: Billy Wilder; Directed by: Billy Wilder; Screenplay by: I. A. L. Diamond and Billy Wilder (based on Egy kettö, hàrom by Ferenc Molnár); Cinematography: Daniel L. Fapp; Edited by: Daniel Mandell; Original Music by: André Previn; Narrated by: James Cagney; Cast: James Cagney, Horst Buccholz, Pamela Tiffin, Arlene Francis.
Sara Ishaq grew up in Yemen, to a Yemeni father and a Scottish mother. When she became a teenager, she felt increasingly suffocated by the social and communal constraints of her society so at age 17, she finally decided to move to Scotland, where her mother now resides. Her father only approved her move under the condition that she would not forsake her Yemeni roots. A promise she made, but could not keep. Ten years later, in 2011, Sara returned to Yemen a different person, geared up to face the home of her past and reconnect with her long-severed roots. Against all expectations, she returned to find her family and country teetering on the brink of a revolution.
65 minutes, in Arabic and English with subtitles in English.
Production credits: Produced by: Diana El Jeiroudi, Mostafa Youssef and Sara Ishaq; Written and Directed by: Sara Ishaq; Cinematography: Genevieve Bicknell & Sara Ishaq; Edited by: Doaa Fadel & Sara Ishaq; Sound: Sara Ishaq.
At the heart of this bold and compelling hybrid film are questions about the significance of lineage and bequeathal. The film begins with Sélim Mourad staging a portrait of his own nuclear family, in which he claims a place on his own terms while facing up to the fact that he will not father a family because he is same-sex loving. After his sister’s passing, Mourad became his parents’ only child, but he is burdened with the knowledge that he is the last male to carry the family name. Meanwhile, the old building where his family lives and was bequeathed by his grand-father, is falling apart, but neither his father, nor aunt, can afford the cost of repairs. They want to sell it to a real-estate developer and move to a new apartment where they hope to spend the remainder of their years comfortably.
This Little Father Obsession explores existential questions while probing the intimacy of a family with courage, intelligence and humor, eloquently laced with fictional sequences. A refreshingly original, disarmingly honest and profound interrogation of the hold of patriarchy in contemporary Lebanese society.
104 minutes, in Arabic and French with subtitles in English.
Production credits: Written and directed by: Sélim Mourad; Editor: Carine Doumit; Producers: Jana Wehbe, Carole Abboud; Cinematography: Bachir Hajj, Jad Tannous; Sound: Lama Sawaya, Chadi Abi Chakra.
Palestinian Actor, screenwriter and director Elia Suleiman strings semi-biographical stories about being Palestinian in Israel over generations, from the beginning in 1948. In part inspired from the journals kept by his father the film opens in the final hours before the surrender of Nazareth, where Fuad (Saleh Bakri), a Palestinian resistance fighter is separated from Thurayya (Leila Muammar), the love of his life. By 1970, Fuad has lost his idealism while his son, ES (Zuhair Abu Hanna) is punished by the school headmaster for calling the United States colonialists. A few years later, ES (Ayman Espanioli) has to flee the country as a young adult, after the Israeli police come looking for him. And some more years later, ES (Elia Suleiman) returns to attend for his elderly mother (Samar Qudha Tanus). At once witty, poignant, sharp and innovative The Time That Remains, is Suleiman’s third film about the absurdity of being Palestinian in Israel and under the continuing occupation of the West Bank, follows Chronicle of a Disappearance and Divine Intervention also award-winning films.
105 minutes, in Arabic, English and Hebrew. With subtitles in English.
Production credits: Producers: Michael Gentile, Elia Suleiman, Written and Directed by: Elia Suleiman, Cinematography: Marc-André Batigne, Editing: Véronique Lange, Art Direction: Sharif Waked. Cast: Ali Suliman, Saleh Bakri, Elia Suleiman, Doraid Liddawi, Maisa Abd Elhadi, Tarik Kopty.
Auf einer beliebten Mittelmeerinsel neigt sich der Sommer dem Ende entgegen – und vielleicht wird die Nebensaison für Alfie (Alfie Thomson), Annie (Julienne Goeffers) und Pere (Pere Yosko) zur Spitzenzeit: Die drei sind total unterschiedlich, haben auf der spanischen Insel aber das gemeinsame Ziel, ihre Träume zu verwirklichen. Von nichts wollen sich die Außenseiter dabei unterkriegen lassen! Alfie, sehr schüchtern und mit seinen Eltern auf dem Campingplatz, will einen Urlaubsflirt und coole Partys. Annie hat bereits einen Liebhaber im Blick und versucht nun, ihre Seniorenreisegruppe loszuwerden, damit sie ihn treffen kann. Bei Pere dagegen dreht sich alles um seine kleine Tochter. Damit sie einen Geburtstag haben kann, den sie nicht vergisst, würde der Papa sogar die Touristenbimmelbahn entführen...
Length: 77 Min.
USA 1982 - WE STOOD LIKE KINGS plays KOYAANISQATSI
Crazy life, life in turmoil, life disintegrating, life out of balance, a state of life that calls for another way of living.
USA 1982. Koyaanisqatsi. Or the ambitious meeting between a legendary American movie and the intense, powerful as well as touching and fragile music of Brussels-based post-rock quartet WE STOOD LIKE KINGS, inspired by the likes of Pink Floyd, Chopin and Mogwai. With their previous releases BERLIN 1927(Symphony of a Great City– Walter Ruttmann) and USSR 1926 (A Sixth Part of the World– Dziga Vertov) and after more than 150 concerts in 15 countries, the four young musicians have now become a reference in their field on the European scene. They will present their latest soundtrack USA 1982 in XXX. A mind-blowing experience that appeals to all your senses.