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.)


Trailer

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.)


Trailer

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.)


Excerpt

Ted Fendt | Short Stay / Classical Period (USA 2016 / 2018)

Ted Fendt’s narrow oeuvre represents an distinct narrative in contemporary US independent cinema: he realized the two medium-length films SHORT STAY and CLASSICAL PERIOD on his own with the support of his environment, holding on to analogue film format while at the same time, representatives of mumblecore bet on online scores. Philadelphia and New Jersey are the settings of the plot, although there is basically no plot. Rather, these films, captured in a cinematically restrained way, are unagitated portraits of people who are Fendt’s age, who pursue their everyday life, often times isolated, even if they desire affection and recognition.

12 April, 8 pm – Luru Kino at Spinnerei – € 8 (7 red.) (for both films)


In the presence of Ted Fendt

SHORT STAY

USA 2016, D: Ted Fendt, A: Mike Maccherone, Elizabeth Soltan, Mark Simmons, 61′, English OV, 35mm

CLASSICAL PERIOD

USA 2018, D: Ted Fendt, A: Calvin Engime, Evelyn Emile, Sam Ritterman, Christopher Stump, 62′, English OV with German subtitles, 16mm

In SHORT STAY, the camera is above all occupied with following pizza delivery man Mike en route from A to B or trying to sleep. He sees his chance for a change of scenery when an old aquaintance, planning a long trip abroad, mentions that he is looking for somebody to take over his room in a shared flat and his “Free & Friendly Tour“ city tours in close-by Philadelphia. But even in the new surroundings, luck does not ensue.
If in his debut feature walking and sleeping are something like guiding themes, reading and thinking are the like in CLASSICAL PERIOD: a handful of young intellectuals meet for a reading circle where Dante’s “Divine Comedy“ is subjected to a thorough exegesis, apart from that there is talk about poetry, English church history and the own sleep- and restlessness. In sensually physical 16mm images, a microcosm emerges that is utterly shaped by the mind.