Turn off the lights, open the eyes – The GEGENKino goes into the next round. We present our selection for this year’s festival!
This year we show twelve full days of program. Anyone who has had enough of egg hunting should go to the cinema anyway. Here are a few valid arguments:
Angela Schanelec I WAS HOME, BUT… | I T O E, Andrea Belfi and Flying Moon in Space live set MATERIALFILME by Birgit and Wilhelm Hein | GEGENkinder with MOOMINS AND THE COMET CHASE | Work on the image – Hartmut Bitomsky | Ted Fendt Double – SHORT STAY and CLASSICAL PERIOD – presented by Ted Fendt | BIG BANG BACKWARDS – a Lecture Performance with Nadia Tsulukidze | the the topic of the exhibition are archived memories: Memory as a Flicker u.a. with works by Filipa César, Gabriele Stötzer, Clarissa Thieme, Ludwig Harig and Susann Maria Hempel | re.act.feminism – a performing archive and a lecture by Beatrice Ellen Stammer | “I DO NOT CARE IF WE GO DOWN IN HISTORY AS BARBARIANS” by Radu Jude | LONG DAY’S JOURNEY INTO NIGHT by Bi Gan | LA CASA LOBO by Cristóbal León & Joaquín Cociña | BÊTES BLONDES by Maxime Matray and Alexia Walther | THE MELANCHOLIC GIRL by Susanne Heinrich | Selected films by Portuguese director Salomé Lamas and on Easter Monday HEIMAT IS A SPACE OF TIME in the presence of Thomas Heise in conversation with Claus Löser
and much more…
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.)
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.)
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
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.)