13. Feb

20:00, Hackersche Höfe Kino

13. Feb


D: Azul Aizenberg, AR 2021, 16 min., spanish OwEs – German Premiere

“To destroy is to create!” Azul Aizenberg questions what seemingly belongs together in film history, assembling an ambitious mosaic of gestures and people spanning multiple countries, decades and styles. Film images by Agnès Varda, Gábor Body, Helke Sander, Su Friedrich, Aki Kaurismäki, and many more – they become one. The director’s goal: to find images that make it possible to imagine the participation of women in the largest strike in Argentine history. Because hardly any traces of the strike itself, which took place in 1908, have survived, her essay film is accompanied by lines from letters and fragments of movies that only partially tell the story. Aizenberg’s fierce hope: that one can emancipate herself from a masculine historiography through meticulous work reclaiming the archive.


D+DOP: Jan Soldat, GER/AT 2021, 11 min., deutsche OwEs – German Premiere

​​Everyday life in an Austrian apartment. Two men meet, have sex, and make jokes about food. One likes to swallow. The camera is motionless, but not the filmmaker. Jan Soldat likes to talk to the people he shows. For years, his portrait films have looked at gay men in moments when they are liberated – some of them only within their own four walls. Of  his many films, FRIDAY NIGHT STAND is perhaps the most humorous and, through the banter of the protagonists, one that brings documentary ethics into sharp focus. As always with Jan Soldat, his gaze is one of consistent curiosity, which never loses sight of the human being.  For years, his stylistically distinctive films have been part of a larger aesthetic project: fragments of a contemporary sobriety that also allows for an examination of beauty. Anti-Seidl, post post-porn.


D: Masaaki Yuasa, C: Avu-chan, Mirai Moriyama, DOP: Yoshihiro Sekiya, JP/CN 2021, 98 min., jap. OwEs – German Premiere

Six hundred years ago: While political power struggles rage across Japan, a child is born whose body appears to be bewitched. When the monster becomes a pop star, the masses run wild, and the ruling class begins to fear the political power of art. Masaaki Yuasa reinterprets the origins of Japanese Noh theater as an unbridled rock musical. That this works effortlessly in INU-OH is hardly surprising, since Yuasa has been one of the most visionary voices in contemporary cinema since at least his legendary film MINDGAME. With his unique style – landing somewhere between high-speed philosophy, surrealism, experimental film, pop and psychedelia – he is known for one thing above all: his unpredictability.

Debate LIBERTINE – February 13.

​​Women on strike, a sex rendezvous, and the fantastic transformation of a monster into a pop star, along with the invention of a new style of music and dance. The actions of free spirits, liberation movements, and a sense of libertinage are brought together in a program curated by Dea Kulumbegashvili (BEGINNING, celebrated in Toronto and San Sebastian) together with Petra Palmer and Dennis Vetter from the Critics’ Week team. A debate on images and their first encounters, and on the question of what freedoms are missing from film festivals today.

Amongst the guests: Dea Kulumbegashvili, Jasper Sharp, Skadi Loist