Arsenal: Current Program http://www.arsenal-berlin.de/ en Arsenal: Current Program http://www.arsenal-berlin.de/typo3conf/ext/tt_news/ext_icon.gif http://www.arsenal-berlin.de/ 18 16 TYPO3 - get.content.right http://blogs.law.harvard.edu/tech/rss Sun, 07 Feb 2106 07:28:15 +0100 Unknown Pleasures #9
 – American Independent Film Fest http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6998/2923/kontakt.html Unknown Pleasures #9 presents a selection of award-winning American independent films that provide an alternative insight into US filmmaking. Most of them are being screened in Germany for the first time. What is clear is that many deal with the question of what can be shown if there are no pictures: How can memories be depicted (MARJORIE PRIME)? How can the origins of the universe be imagined (VOYAGE OF TIME)? How can one tell one's own family story if only fragments remain (DID YOU WONDER WHO FIRED THE GUN?) There are many, varied answers. If one looks back on the past year, it seems only right that a film that documents the day of the presidential election should be at the center of Unknown Pleasures #9. Kevin Jerome Everson's TONSLER PARK shows images of a polling station in a predominantly Afro-American district of Charlottesville, Virginia; pictures of a lived democracy. The film is one of the most important of the year. Its reduced dispositif develops a maximum force and brings home the fact that we have before us a battlefield. Since its premiere, the film's reception has changed dramatically: Last summer, a white supremacist rally in Charlottesville erupted into violence and a car drove into a mass of people. The horror is palpable from the outset in Travis Wilkerson's DID YOU WONDER WHO FIRED THE GUN? The filmmaker travels to the south to tell the story of his great-grandfather – a white man who shot dead a black man at the end of the 1940s. A family story becomes a horror story. What is conspicuous is that the films explore their environment very accurately. Regional cinema, made away from the big cities, has always represented a central strand of independent filmmaking. In these films, to talk about people means to talk about their environment – landscapes, cities, towns and buildings do not only provide a scenic background. One of the finest examples of this is Kogonada’s feature debut COLUMBUS. The eponymous medium-sized town in the state of Indiana is known for its modernist architecture. In this documentary-esque feature, architectural history and the fate of two people merge furiously. MARJORIE PRIME and ESCAPES are both by Michael Almereyda. MARJORIE PRIME is a science fiction film in which holograms (Jon Hamm, Tim Robbins, Geena Davis) take the place of dead people, to give solace and provide "living" memories. Hampton Fancher is known above all as the writer of the sci-fi classic "Blade Runner" (1982) and of "Blade Runner 2049" (2017). In ESCAPES, we learn much more about his unusual life. Terrence Malick's VOYAGE OF TIME: LIFE'S JOURNEY is also cosmic. After taking years to shoot, this documentary about the origins of the universe can now be seen in Germany for the first time. arsenal cinema spalte normal preview Wed, 31 Jan 2018 17:53:00 +0100 Ernst Lubitsch Retrospective (2) http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6997/2923/kontakt.html "Earnest? My first name is earnest enough!" Ernst Lubitsch (1892–1947) was a master of wittily directed comedies, which still bear his unmistakable hallmark. A playful sense of levity, subtle innuendo, eloquent ellipses, dialogue accentuated via sarcasm, irony, concision, and exact timing are characteristic of the proverbial "Lubitsch Touch". Lubitsch’s sophisticated comedies shaped the style of the social comedy, which connected the discriminating with the popular. The recurring themes of the films were the illusion and the reality of high society, love triangles, and the conventions of bourgeois partnership models. Due to the virtuosity of his directing, the subtle art of leaving things out, and the many ideas communicated indirectly, Lubitsch's sexual allusions were passed by the censors without comment, even after the Hays Code came into force in 1934. Arsenal is continuing its retrospective in January and showing 14 films made between 1918 and 1948, focussing largely on the comedies that he made in Hollywood. arsenal cinema spalte normal preview Wed, 31 Jan 2018 17:19:00 +0100 Magical History Tour – 
Improvisation in Film http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/6999/2923/kontakt.html "Improvisation is the highest form of concentration, of awareness, of intuitive knowledge, when the imagination begins to dismiss the pre-arranged, the contrived mental structures, and goes directly to the depths of the matter. This is the true meaning of improvisation, and it is not a method at all, it is, rather, a state of being necessary for any inspired creation." Taking Jonas Mekas's quote from his "Notes on the New American Cinema" text as a starting point, we are dedicating this month's Magical History Tour to the different forms and manifestations of improvisation in film. Twelve examples that criss-cross film history testify to the massive scope for trying things out in rehearsals or in front of a running camera, to the programmatic opportunities to shape proceedings both by actors and for them, to breaking though boundaries and conventions, and last, but not least, to the exuberant joy of acting (together), experimentation and the unpredictable. arsenal cinema spalte normal preview Mon, 29 Jan 2018 17:55:00 +0100 The DEFA Foundation presents http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7000/2923/kontakt.html Carte blanche to Erika Richter: The anniversary publication to pay tribute to the dramaturg and film publicist Erika Richter is called "Liebe zum Kino "(A love of cinema). During our film evening to celebrate Richter’s 80th birthday, we will gladly fulfill her wish to see two of her favorite films again. The essayistic documentary THE TIME IS NOW (Eduard Schreiber, GDR 1987) follows the traces of critical reflection: Between the two questions of what a human is and what peace is, it creates a space for the words and memories of unusual interview partners. FARIAHO …! (Roland Gräf, GDR 1983) is about an old, itinerant puppeteer accompanied by some youths, as well as by his past. The journey becomes a conflictual debate with his own ideas, but also with GDR society after the war. Erika Richter was dramaturg for the second film, while her partner Rolf Richter worked on the first film’s screenplay. (rp) (8.1.) arsenal cinema spalte rechts preview Sat, 20 Jan 2018 18:54:00 +0100 Public Screening – The Harun Farocki Institut presents http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7001/2923/kontakt.html At the 12th International Forum of New Cinema in 1982, Ingo Kratisch was represented by two films - as a cameraman on Harun Farocki’s "Etwas wird sichtbar" (Something Becomes Evident) and as director and editor of LOGIK DES GEFÜHLS (Logic of Emotion) (Screenplay: Jutta Sartory). In a poetic text, Cäzilia Gall writes: "The main protagonist is Georg, lovesick, for whom there is nothing more to portray. People, whom he meets. They are like extras on the empty planks of his heart: 'The Traveller', 'The Poet', 'The Lover', 'The Gambler', 'The Deranged One', 'The Man in the Port' and others. And the plot: "What happens? Nothing much. […] Where is it set? In an in-between space, between lost love and a coming love. Winter. Berlin. 1981. Anna has separated from Georg. Silence." Starring Farocki as "The Deranged One". Ingo Kratisch and Jutta Sartory will be present as Arsenal’s guests. (HaFI) (11.1.) arsenal cinema spalte rechts preview Fri, 19 Jan 2018 18:55:00 +0100 Vaginal Davis presents Rising Stars, Falling Stars – Sweet 16 mm Never Been Kissed http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7002/2923/kontakt.html Rising Stars, Falling Stars … Since 2007 at Arsenal and 2016 at silent green, Vaginal Davis has presented her finds from our archive over 100 times, always wearing a different dress, singing, dancing, reciting texts and hosting a post-screening drinks session with her co-curator, the pianist Daniel Hendrickson. We will reach to the stars with them for the last time when they show A. Edward Sutherland's EVERY DAY’S A HOLIDAY (1937), starring Mae West as a con artist, Louis Armstrong playing himself and five musketeers. (stss) (12.1.) arsenal cinema spalte rechts preview Thu, 18 Jan 2018 18:56:00 +0100 Heinz Emigholz http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7003/2923/kontakt.html "Arrowplane stages the multiplication of a panning shot, applied to three landscapes." It was the artist, filmmaker and author Heinz Emigholz’s first film in the Berlinale Forum, back in 1974. A very good start! By 2017, 30 of his works had featured in the Forum or Forum Expanded, each one treating cinema anew. During the 1990s, the UDK's "Experimental filmmaking" series shaped Tuesdays at the Arsenal: The films and pre-screening introductions expanded the space of experimental film into an infinite form of thought, which inspired the 2012 "Think:Film" congress. Since 2008, Emigholz has also been enriching our program with a series of drawings and texts. All of this is more than reason enough to celebrate his 70th birthday by screening his latest film: STREETSCAPES (2017). (stss) (15.1.) arsenal cinema spalte rechts preview Thu, 18 Jan 2018 18:56:00 +0100 FilmDocument http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7004/2923/kontakt.html Siemens commissioned this now representative tinted film IMPULS UNSERER ZEIT (Otto Martini, FRG 1959) about the essence and significance of electro-technology. The idea was to illustrate the company’s capacity and achievements with examples of electricity generation and application that were easy to understand. The music was composed by Josef Anton Riedel in the Siemens studio for electronic music (with Carl Orff advising) and underlines how modern the company was at the time. The informational film, studded with micro and macro shots, is also evidence of how confident German industry soon became in the post-war era. A CineGraph Babelsberg event in conjunction with the Federal Archives Film Archive and the Deutsche Kinemathek. (15.1.) arsenal cinema spalte rechts preview Wed, 17 Jan 2018 18:57:00 +0100 Helga Fanderl: How I shoot, how I program and how I show films http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7005/2923/kontakt.html The artist Helga Fanderl will present her film oeuvre in a lecture and provide an introduction to her practice of making and screening films, with a Super8 camera and examples of films. Her over 600 films - edited in the camera itself - are complex dialogues with the sensual and graphic qualities of the exterior world, animals, people, structures, light. Details that are constantly and discreetly altered, zooms, changing speeds, repetition, flickering produce an energy that remains committed to the ephemeral and the small form. “Visible and invisible, abandon to an object (and abandon of oneself) and abandon to oneself meet.” (Helga Fanderl) A Seminar for Film Studies at the FU Berlin event in conjunction with Volker Pantenburg's "Distribution Studies" lecture and Madeleine Bernstorff's "auto-fiction" seminar. (mb) (17.1.) arsenal cinema spalte rechts preview Tue, 16 Jan 2018 18:58:00 +0100 Cinepoetics Lecture #5: Jennifer M. Barker http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7006/2923/kontakt.html In moving beyond of sensuous and cognitive borders, the phenomenon of synesthesia is characterized by a unique temporality. However, this temporal aspect of moving images’ and memory’s synesthetic quality is rarely mentioned in discussions of synesthesia in relation to film and new media. In her lecture Color Outside the Lines: Animating a Model of Cinematic Synesthesia, Jennifer M. Barker (Georgia State University) focuses on animation films from Pixar and Hertzfeldt, and draws on research into neonatal synesthesia and the phenomenology of childhood in order to show that conventional descriptions of synesthesia within the arts have given too little space to the question of time. We will show INSIDE OUT (Pete Docter, USA 2015) prior to the lecture. (cs/er) The Cinepoetics Lectures are organized by Cinepoetics—Center for Advanced Film Studies at Freie Universität Berlin. (29.1.) arsenal cinema spalte rechts preview Tue, 16 Jan 2018 18:58:00 +0100 Filmspotting: Exploring the Deutsche Kinemathek's film archive http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7007/2923/kontakt.html The embodiment of the anti-hero, outsider and exotic crosser of borders, Conrad Veidt was one of the most popular and best-paid stars of pre-1933 German cinema. After leaving Germany, he made films in Britain and then - after 1940 - in Hollywood, choosing roles that supported his commitment against the Nazis. Despite playing in films such as "The Thief of Bagdad" (GB 1940) or "Casablanca" (USA 1942) his most impressive performance was as the somnambulist Cesare in Robert Wiene’s expressionist masterpiece DAS CABINET DES DR. CALIGARI (D 1920). To celebrate what would have been Conrad Veidt's 125th birthday on 22nd January, we will be screening a digitally restored version of this classic film, which had its premiere at the Berlinale in 2014. (ah) (29.1., Introduction: Daniela Sannwald) arsenal cinema spalte rechts preview Mon, 15 Jan 2018 18:59:00 +0100 Big Cinema, Small Cinema #17 – Far and Close http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7008/2923/kontakt.html Khaled Mzher went to Lebanon, Jordan and Greece and made a small series of shorts about children living and working in these countries. In the presence of the filmmaker, we will show three of the films made in Jordan - COLOR MAKER, WHEN CITIES FLY and LET’S CAMERA. Jeannette Muñoz lives in Zurich but films mostly in Chile where she was born. In ENVIOS 21, her niece Barbara laughs a lot. In 1994, Ute Aurand took an afternoon walk through the city NEUBRANDENBURG north of Berlin, which she did not know. Marie Menken uses single frame cinematography to allow people and cars surge through the streets of the huge city of New York, calling her film GO! GO! GO! (ua) (21.1., for viewers aged 7+) arsenal cinema spalte rechts preview Sun, 14 Jan 2018 19:00:00 +0100 Classics not only for children http://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7009/2923/kontakt.html Slapstick numbers and precisely timed gestures, mimicry and movements are not necessarily associated with improvisation - the theme of January’s Magical History Tour. Yet, the Marx Brothers, Stan Laurel & Oliver Hardy and Buster Keaton are known for their love of improvisation in the rehearsal phase, as well as during shoots. THE GENERAL (Clyde Bruckman, B. Keaton, USA 1926, 7., 14., 28.1.) Five screenwriters worked on the adaptation of the book that THE GENERAL is based upon. But Buster Keaton improvised various gags and details during the shoot itself. The result is a sometimes surreal civil war comedy about a locomotive driver (Keaton) who rescues not only his adored Annabelle but also his beloved locomotive, "The General", from the enemy, completely underestimating the risks at hand. (mg) arsenal cinema spalte rechts preview Sat, 13 Jan 2018 19:00:00 +0100