Program 2019

Thu 11.4
UT Connewitz

8 PMsupporting film
Gulyabani
NL/TR 2018, D: Gürcan Keltek, 35’, OmeU / OV with English subtitles, DCP
La Casa Lobo
CL 2018, D: Cristóbal León & Joaquín Cociña, 75’, OmdU • DCP
Pracht
10 PM
Stories of the Dumpster Kid
BRD 1971, D: Ula Stöckl, Edgar Reitz, A: Kristine de Loup, Bruno Bendel, Alf Brustellin, 22 Episoden, Gesamtlänge: 220’, OmeU, digital
Fri, 12.4
LURU
8 PM
I was at home, but…
D/SRB 2019, D: Angela Schanelec, A: Maren Eggert, Franz Rogowski, Alan Williams, Jakob Lasalle, Lilith Stangenberg, 105’, OmeU, DCP
10 PMTED FENDT DOUBLE FEATURE
Short Stay
USA 2016, D: Ted Fendt, A: Mike Maccherone, Elizabeth Soltan, Mark Simmons, 61’, engl. OV • 35mm
Classical Period
USA 2018, D: Ted Fendt, A: Calvin Engime, Evelyn Emile, Sam Ritterman, Christopher Stump, 62’, OmdU, 16mm
in presence of the director Ted Fendt
Sat, 13.4
UT Connewitz
9 PMAndrea Belfi, I T O E & Flying Moon in Space add live scores to MATERIALFILME by Birgit and Wilhelm Hein
MATERIALFILME
BRD 1976 , 35’, 35mm
REPRODUCTIONS
BRD 1969 , 34’, digital
625
BRD 1968, 28’, digital
Sun, 14.4
UT Connewitz
14 UhrMOOMINS AND THE COMET CHASE
FI 2010, D: Maria Lindberg, 75’, deutsche Fassung, Blu-ray
Luru Kino
9:30 PM
Long day‘s journay into night
CHN/F 2018, D: Bi Gan, A: Tang Wei, Huang Jue, Sylvia Chang, Lee Hong-Chi, 138’, OmeU, DCP, 3D
Mon, 15.4
UT Connewitz
WORKING ON THE IMAGE – Insights into the Work of Hartmut Bitomsky
8 PMIntroduction by Ramón Reichert
Deutschlandbilder
BRD 1982/83, D: Hartmut Bitomsky, Heiner Mühlenbrock, Dok, 60’, dOV, 35mm
10 PMReichsautobahn
BRD 1984-86, D: Hartmut Bitomsky, Dok, 91’, OmeU, 35mm
Thu, 16.4
UT Connewitz
PARAFIKTION: Salomé Lamas
7 PMShortfilmreel
Ubi Sunt
PT 2017, Dok, 30′ OmeU, DCP
A Torre
PT 2017, Dok, 30′ OmeU, DCP
Theatrum Orbis Terrarum
PT 2017, Dok, 30′ OmeU, DCP
Coup de Grâce
PT 2017, Dok, 30′ OmeU, DCP
9 PMTerra de Ninguém (No Man’s Land)
PT 2012, D: Salomé Lamas, 72’, Dok, OmeU, DCP
Wed, 17.4
Luru Kino
18 UhrLudwig Harig | A Flower Piece
Composition: Wolfgang Wölfer • Director: Hans Bernd Müller • with Günther Sauer, Joachim Nottke, Charles Wirths • Ensemble: Zürcher Kammersprechchor and the Kinderfunkensemble Christa Frischkorn • Produktion: SR/HR/SDR/SWF 1968 • 53’
7 PMIntroduction by Frederik Lang
“L’Argent” von Bresson
BRD 1983, D: Hartmut Bitomsky, Manfred Blank, Harun Farocki, 30’, dOV, File
Das Kino und der Tod
BRD 1988, D: Hartmut Bitomsky, 46’, dOV, Betacam SP
9 PMDas Kino und der Wind und die Photographie
D 1991, D: Hartmut Bitomsky, 56’, dOV, DigiBeta
Spare Time
UK 1939, D: Humphrey Jennings, 15’, englische OV, 16mm
Thu, 18.4
Schaubühne
18 UhrOpening: Exhibition
6 – 11 PMExhibition
Big Bang Backwards Lecture-Performance | Video | Nadia Tsulukidze | 2018 | 50’
The Embassy Filipa César | 2012 | 37’ | Video
Trisal and additional works | Gabriele Stötzer | 1986 | 20’
Can’t you see them? – Repeat. Installation with film (8’), light projecting motion-control-system „CYST“, Alu Dibon photo print / Clarissa Thieme | 2019
Staatsbegräbnis I Radio play | german language / Ludwig Harig | 1969 | 64’
Gemeinsam unerträglich – Ein dokumentarisches Mosaik Radio play I german language | Ernest Ah, Sabrina Saase und Lee Stevens vom Kollektiv der Raumerweiterungshalle | 2018 | 60’
7 PMLecture-Performance by Nadia Tsulukidze
Big Bang Backwards
2018, 50’, in englischer Sprache
8:30 PMre.act.feminism #2 – a performing archive, 2011-2014
Lecture by Beatrice Ellen Stammer on the “wandering archive” re.act.feminism (in German)
10 PML’Époque – Young and alive
F 2018, D: Matthieu Bareyre, Dok, 96‘, OmeU, DCP
Fri, 19.4
Schaubühne
after 4 PMExhibition
7 PMLecture by N. Frankenberg
Watermelon Woman
USA 1996, D: Cheryl Dunye, A: Cheryl Dunye, Guinevere Turner, Valarie Walker, Cheryl Clarke, Sarah Schulman, Camille Paglia, Brian Freeman, 90’, englische OV, DCP
10 PMI do not care if we go down in History as Barbarians
RO/CZ/F/BG/D 2018, D: Radu Jude, A: Ioana Iacob, Alex Bogdan, Alexandru Dabija, 139‘, OmeU, DCP
Sat, 20.4
Schaubühne
after 4 PMExhibition
18 UhrPodium
8 PMBetes Blondes – Blonde Animals
FR 2018, D: Maxime Matray, Alexia Walther, A: Thomas Scimeca, Basile Meilleurat, Agathe Bonitzer, 101’, OmeU, DCP
10 PMDas melancholische Mädchen
D 2019, D: Susanne Heinrich, A: Marie Rathscheck, 80’, OmeU, DCP
Sun, 21.4
Schaubühne
after 4 PMExhibition
Gabriele Stötzer and Claus Löser in Contversation
8 PMExtinction
POR/ D 2018, D: Salomé Lamas, 80’, Dok, OmeU, DCP
10 PMEldorado XXI
PT/F 2016, D: Salomé Lamas, 125’, Dok, OmeU, DCP
Mon, 22.4
Schaubühne
4 PMHeimat is a Space in Time
D/AT 2019, D: Thomas Heise, Dok, 218’, dt. OV, DCP
In Presence of Thomas Heise

GEGENkino presents | Andrea Belfi, I T O E & Flying Moon In Space play live score for Materialfilme (BRD W+B Hein)

This is our first announcement:

Sat 13 April 2019
UT Connewitz
LIVE SCORE
9 PMAndrea Belfi, I T O E & Flying Moon In Space live score
Materialfilme (BRD W+B Hein): Materialfilme (1976 , 35′, 35mm), 625 (1969, 34′, digital), Reproductions (1968, 28′, digital)

before: Andrea Marinelli: SECRETSHOW

Being progressive representatives of the 60s’ and 70s’ underground film, Wilhelm and Birgit Hein carry out a radical rejection of narrative cinema. Their material-films, from which we will see a selection, are anti-illusionistic and non-conversational. The physical presence of the analogue film strip and the tecnichal requirements for its screening, which otherwise remain hidden (like the perforation needed for play-back, the soundtrack or the scraps occuring during preparation) are as much recurring elements of Wilhelm and Birgit Hein’s work as is the battered celluloid. Fragments and remnants of the usually unseen start- and endtape of 35mm film copies are key ingredients of MATERIALFILME, displaying scratches and new arrays defying the frames. 625 consists of grainy grids, negatively produced, spread in 625 lines that were filmed from a TV screen in shifting fuzziness.

I T O E , Andrea Belfi and Flying Moon in Space, all working in their own way at the interface of ambient, kraut and psychedelia, will each add exclusive live scores to one “Materialfilm”. Six headed Flying Moon in Space sounds as if it came from outta space. With a lot of sound effect tailwind, they create groovy, harmonious progrock and occasionally intense, eruptive jam passages. Solo drummer Andrea Belfi simultaneously plays on his spartan drum-set alongside various electronic sound generators, intertwining the rich sound spectrum generated by his playing techniques with the textures of synthesizers. Freedom inside of structure and synths as instruments are also the case with I T O E, fortifying their sound-radicals with guitar loops and occasional traces of saxophone to let them sprout in hypnotic repetitions.

In SECRETSHOW, Italian musician and media artist Andrea Marinelli works with the almost forgotten aesthetic potential of overhead projectors. In combination with electronic soundscapes, he improvises a unique experience of light and sound anew every time. His audiovisual performance makes use of urban and museal spaces’ peculiarities, the colours and textures of the walls, the rooms’ nooks and crannies. Photographs of faces, masks and statues overlap each other, shadows interfere and vanish, the usually defined framing of the image is subject to constant change. Aged film strips play with the aura of the iconic, while sound recordings of different languages and dialects open multiple semantic fields, reveal secrets and encrypt them again. This show has been performed at international festivals like the IFF Locarno, but the Milanese artist has also modified it for small, familial settings like private parties. Premiering in Germany at GEGENkino, Marinelli will design an evening for the acoustic and architectural characteristics of UT Connewitz.

T I C K E T S available at culton on Peterssteinweg 9 or online at tixforgigs.com

GEGENkino #6 | 11. – 22. 4.


The GEGENkino team is back!

The next edition of our festival will take place from the 11th to the 22nd of April.

You can expect a very special program this time …

GEGENkino presents | Anna Biller’s “The Love Witch” & “Viva” 35mm

Dear GEGENkino friends!
We’ve created a wonderful pre-festival event for you: Two rare 35 mm copies of  The Love Witch and Viva by experimental filmmaker Anna Biller are touring the country these days, and on their way they are going to stop by in our beloved LURU cinema in Leipzig on the 1st November 2018 at 7 PM.

01 NOV 2018
Luru-Kino
GEGENkino presents
7 PMVIVA
USA 2007. R: Anna Biller, D: Anna Biller. Jared Sanford, Bridget Brno. 120 Min. 35mm. OV
9 PMThe Love Witch
USA 2016. R: Anna Biller, D: Samantha Robinson, Gian Keys, Laura Waddell. 120 Min. 35mm. OV

The Love Witch

USA 2016. D: Anna Biller, D: Samantha Robinson, Gian Keys, Laura Waddell. 120 Min. 35mm. OV

Elaine, a beautiful young witch, is determined to find a man to love her. In her gothic Victorian apartment she makes spells and potions, and then picks up men and seduces them. However her spells work too well, and she ends up with a string of hapless victims. When she finally meets the man of her dreams, her desperation to be loved will drive her to the brink of insanity and murder. With a visual style that pays tribute to Technicolor thrillers of the 1970s, THE LOVE WITCH explores female fantasy and the repercussions of pathological narcissism.


VIVA

USA 2007. R: Anna Biller, D: Anna Biller. Jared Sanford, Bridget Brno. 120 Min. 35mm. OV

Two suburban couples get sucked into the sexual revolution in 1972 Los Angeles. Abandoned by her husband, Barbi is dragged into trouble by her girlfriend, who spouts women’s lib as she gets Barbi to discard her bra and go out on the town. Barbi becomes a Red Riding Hood in a sea of wolves, and quickly learns a lot more than she wanted to about nudist camps, the hippie scene, orgies, bisexuality, sadism, drugs, and bohemia. Saturated to the hilt with vibrant color and exquisite period detail, and full of the kind of innocent nude romps you see before censorship codes lifted, VIVA looks like a lost film from the late ‘60’s, and is a tribute to the best of exploitation cinema.

See you soon!

Sexy Durga (IN 2017) / The Nothing Factory (PT 2017)

Oh, the end is drawing near! Today is the last day of this year’s GEGENkino festival and we hope you had some inspiring, insightful and/or intense moments. Thank you all! We’ll close off the festival with two feature films and one short film as part of our programme section “HOW TO RESIST…”: At 6pm at Schaubühne Lindenfels, we’ll screen Sanal Kumar Sasidharan hitchhike/road trip/odyssey film SEXY DURGA, in which “Sasidharan reflects Indian independent cinema’s emerging feminist moment”as some commentators have it. There’ll be an opening film to SEXY DURGA that is JODILERKS DELA CRUZ / EMPLOYEE OF THE MONTH by Carlo Francisco Manatad, one of the most interesting young directors from the Philippines, whose film scene seems to really flourish right now. At 8pm then, finishing off our festival, there’ll be a screening of the Portuguese proletarian strike film THE NOTHING FACTORY by Pedro Pinho – another film that, in portraying a group of factory workers’ struggle for the protection of their job and existence, blends fiction film and documentary in very unique way. (Shot on one of our favourite materials: 16mm!) We hope to see you all again today!

Sun 15 April 2018 @ Schaubühne Lindenfels
6 PM SEXY DURGA (IN 2017, D: Sanal Kumar Sasidharan 85’ OV w/ English subtitles) + opening film: JODILERKS DELA CRUZ / EMPLOYEE OF THE MONTH (PHL/SGP 2017, D: Carlo Francisco Manatad 13’)
8 PM THE NOTHING FACTORY (PT 2017, D: Pedro Pinho 177’ OV w/ English subtitles)

Sun 15 April 2018
Schaubühne Lindenfels
HOW TO RESIST…
6 PMSEXY DURGA (IN 2017 D: Sanal Kumar Sasidharan 85’ OV w/ English subtitles)
+ opening film: JODILERKS DELA CRUZ / EMPLOYEE OF THE MONTH (PHL/SGP 2017 D: Carlo Francisco Manatad 13’1
8 PMTHE NOTHING FACTORY (PT 2017, D: Pedro Pinho 177’ OV w/ English subtitles)

SEXY DURGA

IN 2017, D: Sanal Kumar Sasidharan, A: Rajshree Deshpandey, Kannan Nair, Vishnu Vedh, OV with English subtitles, 85’, DCP

At the beginning: white text on black ground. An episode from the epic
poem Ramayana tells the mutilation of the Shurpanakha by Rama’s
half-brother Lakshmana. The black fades out and merges into the feast of
Garudan Thookam in south Indian Kerala, where the bloodthirst of Kali,
an embodiment of the deity Durga, is to be ritually quenched. Bodies are
going into ecstasy, hooks into human skin, masculinity is performed,
mobile phones are filming. Thenchange: a road at night. The young couple
Durga and Kabeer want to get away. She’s a Hindu from the north, he’s a
Muslim from the south. A minibus stops, they get in. SEXY DURGA lets
one experience the attitude and atmosphere out of which sexual violence
could arise in public spaces. Moreover, the attribution of the film’s
title is an affront to religious hardliners. Durga, which is not
associated with a male god, is deeply worshipped in Hinduism. The
eroticised association is provocative, and a figure of that name, which
exposes the mechanisms of patriarchal oppression in a constricting way,
has been the reason for banning the film until recently. Sanal Kumar
Sasidharan deconstructs myths and social dynamics and at it, skillfully
works with expectations and anxieties. The camera is unleashed and free
throughout the film, its two protagonists are trying to follow suit.


Opening Film

JODILERKS DE LA CRUZ

PHL/SGP 2017, D: Carlo Francisco Manatad, A: Angeli Bayani, Ross Pesigan
OV with English subtitles, 13’, DCP

JODILERKS DELA CRUZ (EMPLOYEE OF THE MONTH) depicts an evening at a gas station. The last one of an employee who used to be motivated once. Now, there is only the endless and noisy traffi c, from which hardly anyone ever stops. With her arbitrary actions, the protagonist mirrors the society around her. An amusing, wicked potshot of a film.

15 April, 6 pm – Schaubühne Lindenfels – € 6,5 (5,5 red.)


THE NOTHING FACTORY

PT 2017, D: Pedro Pinho, A: José Smith Vargas, Carlo Galvão, Njamy Sebastião, 177’, OV with English subtitles, DCP

In the middle of the night, machine parts are stolen from an elevator factory. Immediately, the workers realize that the administration has planned this act of sabotage in order to elegantly disappear into the void of financial crisis while merely paying miserable severances at the most. Since a strike, especially if there is no work left, would remain ineffective, the workers turn their protest into an occupation, into a struggle for their right to work. At this point, THE NOTHING FACTORY begins its operation. On grainy 16mm material, Pinho stages bleak rooms as still lives. Framed within these, the workers persevere, play football and chess, and of course discuss empowerment and security issues inside of capitalist employment conditions. Gradually, the group thins out: some of them accept the dismal pay-offs offered in uncomfortable one-on-one conversations. Eventually, the bordeom of the hard core ends up in the performance of a peculiar musical choreography. Due to his reflection on Portugal’s socio-political reality, the film is inevitably reminiscent of classical 1970s strike films such as Petri’s THE WORKING CLASS GOES TO HEAVEN or Fassbinder’s miniseries EIGHT HOURS ARE NOT A DAY, yet it does not ever lose its sense of humor. The film’s self-referentiality, its even documentary context constitute its remarkable stance: nearly the entire cast actually does work in factories, a quirky filmmaker follows the action and there really has been a collectively managed elevator factory.

15. April, 18 Uhr – Schaubühne Lindenfels – € 6,5 (5,5 erm.)