Retrospective | BAD GIRLS GO TO HEAVEN
US 1973, D: Stephanie Rothman, A: Ena Hartman, Barbara Leigh, Tom Selleck, 88’, English OV, 35mm
An exploitation film that combines the most diverse motifs of 1970s market-based genre cinema and doing so, shakes up male-dominated genre conventions: Stephanie Rothman’s first and only action film is part outdoor prison film, part socio-critical dystopia à la ESCAPE FROM NEW YORK: ”No Walls, No Guards, No Rules”. In order to banish murderers from society, they are deported to an isolated island, Terminal Island, without further ado. Is it only the law of the jungle that applies there, or does the isolation also harbour the possibility of imagining a new, freer society?
| Sat 14 Sept | Luru Kino in der Spinnerei |
| 8 pm | With an introduction to the evening’s double feature by Silvia Szymanski (author and film critic) € 7 (6 reduced) |
BR/PT 2023, R: Carolina Markowicz, D: Maeve Jinkings, Kauan Alvarenga, Thomás Aquino, 101′, OV with English subtitles, DCP
Single mum Suellen is worried about her teenage son Tiquinho. When Tiquinho is not at school, he puts on make-up, makes lip-sync videos to Billie Holiday songs and tries to sell cosmetic products on social media. Suellen is persuaded to enrol him in a costly conversion therapy programme, which she finances through criminal means, driven by her caring thoughts.
From the grainy, atmospheric images of the story’s (sub)proletarian milieu to the expansive industrial landscapes of the city of Cubatão, TOLL captivates with its remarkable acting of the multi-layered characters and its humour, especially during the therapy sessions. We learn that the anus is in league with the devil. With good reason an international festival hit.
| Sa 14. Sept | Luru Kino in der Spinnerei |
| 18:00 Uhr | € 7 (6 ermäßigt) |
Special | MILIEU-KINO
US 1976, D: Carter Stevens, A: Susan McBain, Alan Marlow, Terri Hall, 84′, English OV, 35mm
Finally, on 13 September, we will be showing ROLLERBABIES, a thoroughly obscure find from grindhouse cinema. ROLLERBABIES is one of the earliest sci-fi erotica parodies of the 70s. In a dystopian future, sexual intercourse is forbidden due to overpopulation. People must take anti-aphrodisiac pills to suppress their sexual urges. Only licensed performers are allowed to perform sexual acts in live television broadcasts as an aid to masturbation.
To save his career, the imaginative TV manager Sherman Frobish comes up with a daring idea: he organises a live TV competition in which the participants perform sexual acts on roller skates.
| Fri 13 Sept | Milieu Kino at Rabet Park |
| 16:00 Uhr | € Free admission |
Homage | RAINER KOMERS
KOBE
DE/JP 2006, D: Rainer Komers, 45‘, Doc, no dialogue, 35mm
MA’RIB
DE/YE 2007, D: Rainer Komers, 30‘, Doc, no dialogue, 35mm
RAINER KOMERS READS A SELECTION OF HIS POETRY
Film and poetry, image and sound, standstill and rhythm, nature and people: in KOBE, Komers provides insights into the Japanese port metropolis of the same name in delicate moods of light and colour. Often based on recurring sounds, a carpet full of small vignettes from everyday life in the city spreads out before us. Similarly, MA’RIB, the other analogue short film in the programme: a portrait of people and landscape in and around the ancient Yemeni city that gives the film its title, which leaves it entirely up to us to decide what we want to think and feel while watching its associative montages. The film programme will be framed by Komer’s poems, which he will read himself.
| Wed 12. Sept | Luru Kino in der Spinnerei |
| 9 pm | In presence of Rainer Komers € 7 (6 reduced) |
Homage | RAINER KOMERS
BARSTOW, CALIFORNIA
DE/US 2018, D: Rainer Komers, 76’, Doc, OV with German subtitles, DCP
NOME ROAD SYSTEM
DE/US 2004, D: Rainer Komers, 26’, Doc, no dialogue, 35mm
Two films dedicated to US-American vastness with the cinematic gaze of a stranger: In BARSTOW, CALIFORNIA, Komers portrays the small town that gives the film its title, hometown of the Black poet Spoon Jackson. His voice can be heard from off-screen, recorded in the state prison where he is serving a life sentence. He circles around the past: his childhood, which contained brief moments of happiness, but above all violence. His present day-to-day life is the prison cell that brought him to (film-like, sculptural) poetry. While language is omnipresent in BARSTOW, CALIFORNIA, it is completely absent in the short film NOME ROAD SYSTEM. Without categorisation, a collage of impressions that Komers gained in rural Alaska sweeps across the screen.
| Wed 12. Sept | Luru Kino in der Spinnerei |
| 7 pm | In the presence of Rainer Komers € 7 (6 reduced) |
