GULYABANİ (NL/TR 2018 Gürcan Keltek)

NL/TR 2018, R/D: Gürcan Keltek, Dok/Doc 35’, OmeU/OV with English subtitles, DCP

Gulyabani. A creature with supernatural abilities in Turkish mythology. A Djinn. A Ghoul. A little girl from Izmir is taken for it. She can see dead people. And cold hearts. Locked up by her own family, she is misused as a fortuneteller, medium and talisman. After the 1980 coup, fascist paramilitaries abduct her for similar intentions and retain her in a mine. Following his lyrical documentary work METEORS, filmmaker Gürcan Keltek starts another both acoustically and visually intriguing journey based on diaries and reports of a relative. In it, biography and history, superstition and state terror, the cosmic and the earthly are associatively blended. Lucid periods and dark terrains take turns. Abruptly, we enter the world of ghosts, get lost in fleeting memory pictures which have lain in silver for too long, faded by deprivation of light, having become porous by countless years of life, covered with stories and scarred by mental wounds.

Thu 11. April 8 PM – UT Connewitz – € 6,5 (5,5 red.)


La Casa Lobo / The Wolf House (CL 2018, Cristóbal León & Joaquín Cociña)

CL 2018, D: Cristóbal León & Joaquín Cociña, 75’, OmdU/OV with German subtitles, DCP

Colonia Dignidad, presented by an image film. In a sweetish voice, the “sheperd” narrator tells of life in the community formed by German emigrants, dispels some unpleasant rumours and also mentions Maria. Maria was able to flee with two little pigs alongside her. In the woods, she finds a house to hide herself and her companions from the claws of the wolf. It is rattling, creaking and cracking, inside and outside. The Chilean puppet and animation artists’ first full-length feature portrays a traumatised young woman’s ever-changing world. Paint streams across the walls, forming faces. The bodies made of papier-mâché melt and regenerate. Everything is crumbling, shaking, moaning and staring. THE WOLF HOUSE is based on a series of exhibitions, inviting the visitors to participate in the formation process. Meticulous detail work in Europa and South America brought the stop-motion arrangements to life. Uniting the widespread paintings and virtuous sculptural art with sounds, voices, and folk songs, the cinematic outcome forms both an intense and touching nightmare as well as a political parable on Augusto Pinochets’ frightening reign.

11 April, 8 pm – UT Connewitz – € 6,5 (5,5 red.)


Stories of the Dumpster Kid (BRD 1971 Ula Stöckl, Edgar Reitz)

FRG 1971, D: Ula Stöckl, Edgar Reitz, A: Kristine de Loup, Bruno Bendel, Alf Brustellin, 22 episodes, total length: 220′, OV with English subtitles, digital

The dumpster kid – in Viennese snide humour the expression for afterbirth and the throw-outs and rejects of civilisation – grows up in a garbage can and is now to be integrated into civil society. At least this is the plan, whose failing is told in 22 episodes. The dumpster kid is frivolous, hedonistic, dirty and far to curious, it fucks, seduces and signalises this danger for the well-ordered surroundings already in its appearance: red shoes, red socks and a red dress. The dumpster kid goes to school and to church, it travels through time and leaves reality behind, meets Al Capone, transforms into a vampire and burns at the stake. But even the thousands of deaths it is threatened with will not ensure its readiness to assimilate.
It is only tonight that Pracht becomes a cinema pub, the dumpster kid cinema. Guests can choose single episodes from the menu card.

11 April, 10:30 pm – Pracht (Wurzener Straße 17, 04315) – Free entrance

I was at Home, but… (GER 2019, Angela Schanelec)

GER/SRB 2019, D: Angela Schanelec, A: Maren Eggert, Jakob Lassalle, Clara Möller, Franz Rogowski, Lilith Stangenberg, Alan Williams, Jirka Zett, Dane Komljen, 105’, german OV with engl. Subtitles

Is it possible for a feature film to authentically deal with death? What does it mean when an actor pretends to be mortally ill – is this ethically and aesthetically acceptable or is it merely a lie? Can images convey a truth that is not personal but universal? In her new film, Angela Schanelec has her protagonist Astrid express these problems directly. Astrid has lost her husband and the father of two mutual children. A friend of her treating this very subject in his artistic work, gets accused by her of having overstepped the boundary of presentability. Schanelec takes a different approach: like Yasujirō Ozu’s silent film “I was born, but”, which the title of Schanelec’s film follows, her film narrates via absent things, omissions, the before and after of dramatic happenings. What can be seen is the condition of the characters. Impressions can be found in their physical presence – dirt, wounds, illness, posture and gestures. The actors’ surface turns their personality concrete. Bodies isolate themselves. Interactions provoke eruptions. Fears turn outward. Touch soothes. The actors embrace their role physically instead of performing it in a naturalistic and realistic way. Schanelec does not care about any enactment of fate. She shows a snapshot of everyday melancholy. Her images’ strict concept uncovers truth and enables the viewer to feel sympathy by understanding.

12 April, 8 pm – Luru Kino at the Spinnerei – € 6,5 (5,5 red.)


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
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