As always, the Arsenal Cinema will be screening a selection of this year's Forum titles over the coming week: AUS EINEM JAHR DER NICHTEREIGNISSE (FROM A YEAR OF NON-EVENTS) by Ann Carolin Renninger and René Frölke, CASA ROSHELL by Camila José Donoso, FOR AHKEEM by Jeremy S. Levine and Landon van Soest, MOTHERLAND by Ramona S. Diaz, MZIS QALAQI (CITY OF THE SUN) by Rati Oneli and NEWTON by Amit V Masurkar.
Since cinema began, part of the fascination of the moving image has stemmed from the way in which the bodies of the people acting on the screen are represented: it’s no coincidence that the first ever film footage shows contented workers, men exercising or boisterous children. It wasn’t long before Méliès extended these short documentary scenes by adding cinematic (corporeal) experiments of a fantastical or dramatic nature: images of elegant dancers that disappear as if by magic, images of headless skeletons on the prowl or of heads that inflate like balloons and explode. With these two poles as a starting point, the staging of bodies (and body parts) in film went on to become a fundamental means of cinematic expression whose diverse manifestations have had a substantial effect on how we think about human physiology.
This month's Magical History Tour presents notable images of the body from 80 years of film history, showing the special physical presence exuded by bodies of longing, objects of projection, foreign or collective bodies, the reanimated and corporeal hybrids.
In conjunction with the solo exhibition of seven video works by Omer Fast at the Martin-Gropius-Bau, entitled "Omer Fast: Talking is Not Always the Solution", which can be seen until March 12, 2017, we are showing Omer Fast's CONTINUITY (Germany 2016) on February 24.
The film begins as a conventional, linear story about a son's emotionally-charged return home. But the mood quickly shifts into the uncanny: In a small town in Germany, a middle-aged married couple repeatedly invites young men to their house to take part in an impenetrable ritual. It remains unclear whether the husband and wife have suffered a loss – perhaps their visitors, the surrogate sons, are merely supposed to prevent the threatened break-up from occurring. Three different personifications of their lost son Daniel spend the night at the family home. All of them disappear in mysterious fashion.
On the occasion of the current edition of the journal "Frauen und Film" about migration we will be showing ALMANYA ACI VATAN by Şerif Gören (TR 1979) in the presence of some of the contributors on February 28.
Translated the title means "Germany, bitter homeland" and is a line from a song that has become a classic among the Turkish community in Germany. The film was mostly shot in West Berlin (camera: Izzet Akay) and tells the story of a self-confident young woman, Güldane (Hülya Koçyiğit), who works in an electric typewriter factory, lives with other women in a shared apartment, has a successful sideline exporting goods to Turkey - and imports a paper husband. However, the situation does not allow for a simple end. Presented by Nanna Heidenreich.
The Band Wagon Vincente Minnelli
USA 1953 With Fred Astaire, Cyd Charisse
35 mm OV 112 min
Arsenic and Old Lace USA 1944
With Cary Grant, Peter Lorre, Edward Everett Horton
35 mm OV/GeS 118 min