It's hard to find another French filmmaker of such standing as Philippe Garrel who still remains a more or less blank slate in Germany. Although he’s regarded as a key figure in post-Nouvelle Vague cinema, his 30-film oeuvre is largely unknown in this country. With the exception of L'OMBRE DES FEMMES (In the Shadow of Women, France/Switzerland 2015), not a single one of his films has received a standard German theatrical release over the last couple of decades. Arsenal is dedicating a comprehensive retrospective to Philippe Garrel in October, which will enable Berlin audiences to grasp the different phases of his over 50-year career and get to the very heart of his concerns by looking at his entire oeuvre for the very first time. For the opening on October 1, we are presenting Garrel's penultimate film LA JALOUSIE (France 2013) as a German premiere. Introductions by Birgit Kohler, Thomas Arslan, Volker Pantenburg, Marc Siegel, Angela Schanelec, and Anja Streiter complement the program.
Are special effects — or their digital counterpart, visual effects — a marginal field in cinematographic art, things pulled from bags of tricks belonging to tinkerers, firework-makers and computer freaks? Or do they mark the zenith of artistic-creative imagination? Do they generate illusions that continuously strive for perfection, the most artificial constructions in a world already artificial in itself: cinema? A look back to the beginnings of cinema makes it clear that the history of film is also the history of the technological manipulation of images. Almost ninety years after Méliès' first "magical" films and after numerous innovations in the field of special effects, this branch of cinema has also experienced a digital revolution. The possibilities offered by so-called computer generated images (or CGIs for short) appear boundless when it comes to translating imagination and fantasy into moving pictures. Yet computers and their "analogue" predecessors not only generate past or future worlds and their inhabitants, but also complex visualizations of emotional, perceptive and mental worlds, which forms the focus of this month's Magical History Tour.
The genocide carried out by the German National Socialists on the Sinti and Roma more than left its mark on the following generations. Those who survived the killing were persecuted once again following the liberations, denied both their dignity by a judiciary and police characterized by racism and in many cases any compensation for their suffering. It was only in the 80s that the state sanctioned discrimination stopped, yet it persists in society to this day. A film series in several parts asks how the Roma and Sinti might be able to move away from external attributions and find their own identity as well as creating both distance to the traumatic events and independence and optimism at the same time.
In October, we show AND-EK GHES... by Philip Scheffner and Coloradu Velcu, which premiered in this year's Forum programme, and BRASS ON FIRE – IAG BARI by Ralf Marschalleck (Germany 2002).
This lecture series by Sabine Nessel (Seminar for Film Studies at the FU Berlin) asks about the relevance of archives for film historical research and sets out into the archive itself to this end. What is the difference between film historiography and film archaeology? What powers are set free when university film studies meet a film institution’s collection? Specific films from the Arsenal archive will be presented, with the concepts of film studies, archive, and difference serving as a guide.
The lecture series starts on October 25 with the animal horror classic JAWS (Steven Spielberg, USA 1974), the primal anthropological fear of being eaten is played out effectively before a beach backdrop. The film will be shown as a 35-mm print in the (legendary) German dubbed version. The lecture series runs until February 2017 and is open to anyone interested.
Living Archive: films are alive, but film prints grow old. In our collection too, vinegar syndrome, red tinges, and prints that have shrunk over time are all to be found. In a new series, we want to present the symptoms of aging based on a series of examples and discuss with audiences what the future of each film might look like as part of the archive. We are starting on October 24 with the projection of a print that is suffering from vinegar syndrome. KRYLJA (Wings) by Larissa Shepitko (USSR 1966) tells the story of Nadezhda, who was a famous fighter pilot during the War and is now a headmistresses. She is held in high regard by society and her picture hangs in the local museum. Yet she enters into conflict with the younger generations again and again.
The series takes place monthly and will alternate with archive presentations from the Harun Farocki Institute from 2017 onwards.
Dealing with the past is an important precondition for shaping the present. It is the only way of legitimizing responsibility for the future. The "Future of Memory - Nationwide School Cinema Program for Remembering the Holocaust in Film" project follows up "Asynchronous. Documentaries and Experimental Films on the Holocaust. From the Collection of the Arsenal." Throughout 2016, school events featuring films from the Asynchronous project such as SHOAH and SOBIBOR, 14 OCTOBRE 1943, 16 HEURES by Claude Lanzmann, VOICES FROM THE ATTIC by Debbie Goodstein and DARK LULLABIES by Irene Angelico and Abbey Neidik will take place all over Germany.
Intensive educational work is crucial in the area of school cinema. When it comes to the culture of memory, there is a huge gap between the generations who grew up with eyewitnesses and today's children and young adults, both in cognitive and aesthetic terms. The classic codification of the topics Holocaust, fascism, National Socialism and anti-Semitism is often not accessible to young people today because the language and form seem to be outdated and therefore no longer understandable. That's why it is important to rethink aesthetic and emotional approaches and find means of opening up the world of memory to this generation and those to come.
Further information about the project will be available soon. If you are a cinema or event organizer, please get in touch with us now.
Le vent de la nuit Night Wind France 1999
With Catherine Deneuve, Daniel Duval, Xavier Beauvois
35 mm OV/EnS 95 min
Metropolis Fritz Lang Germany 1926
Restored version with music by Gottfried Huppertz
35 mm 152 min