Arsenal: Current Program en Arsenal: Current Program 18 16 TYPO3 - get.content.right Sun, 07 Feb 2106 07:28:15 +0100 13. Forum Expanded
 – A Mechanism Capable of Changing Itself In 1947, the avant-garde cinema pioneer Maya Deren noted that “Marxism is the only political theory that has designed a mechanism capable of changing itself - as in the concept of the withering away of the state." It is with this quotation that the media scholar Ute Holl begins a paper on the film poet’s theories and concept of cinema, which takes the form of "a sustained intervention in the social and sensory relationships of all those who participate in this ongoing form of communication." The title of this year’s Forum Expanded program was taken from this same paper, with "A Mechanism Capable of Changing Itself" referring to the specific agency possessed by cinema, which is especially well expressed in the rich range of forms to be found in documentary works. arsenal cinema spalte normal preview Wed, 28 Feb 2018 16:21:00 +0100 48. Forum In two films made by female directors in this year's program, new significance is given to video material shot during political upheavals: At the end of the 1980s, Kristina Konrad went out onto the streets of Uruguay to collect opinions about a referendum on a law that would guarantee amnesty to the former military junta. UNAS PREGUNTAS (One or Two Questions) examines a democratic process very closely. At around same time, the world’s attention focussed on the Nazi past of Kurt Waldheim, a former UN secretary general and Austrian president. Ruth Beckermann's WALDHEIMS WALZER is a documentary essay of shocking pertinence. arsenal cinema spalte normal preview Tue, 27 Feb 2018 16:20:00 +0100 Ula Stöckl Retrospective "'The private is political' provides a key to the art of film, with which I can highlight power structures right into the most intimate of relationships." (Ula Stöckl) This thought not only runs through Ula Stöckl's film oeuvre, but also forms the basis of her extensive curatorial activity in numerous international selection committees, as well as of her work as a professor of directing in the US. It dates back to the early 1960s when she was one of the few women to start making films in West Germany. At this time, what she knew was that she wanted to work as a screenwriter. She applied to the Ulm School of Design and was the first woman to get into the Institute of Film Design. Alexander Kluge, who built up the film department with Edgar Reitz, asked her whether she could imagine taking full responsibility for her work as a filmmaker. He said that this was something completely new and that the idea was to pick up on the position of auteur from the early film era. Stöckl made her first short in the fortress next to her film school, using a silent 35-mm Arri camera: ANTIGONE (1964), a classic epic, is seven minutes long, with the plot reduced to sheer moments. The director’s feature debut NEUN LEBEN HAT DIE KATZE (1968) is considered to be West Germany’s first feminist film and became a cult film. Ula Stöckl has since written, made and produced over 25 documentaries, features and television films, which focus on female mythological characters, on the conflicts between people and generations, and on violent power structures. She made "Tales Of The Dumpster Kid" (25 episodes) and "The Golden Thing" with Edgar Reitz. arsenal cinema spalte normal preview Sun, 25 Feb 2018 16:31:00 +0100 Tribute to István Szabó A world-class director, auteur, creator of grand historical topographies, as well as intense landscapes of the soul: István Szabó (*1938, Budapest) is arguably the most famous director in Hungary, having made some 40 films. APA (Father, 1966), MEPHISTO (1981), ÉDES EMMA, DRÁGA BÖBE (Sweet Emma, Dear Böbe, 1991) and his most recent work THE DOOR (2012) have all marked the cinematography of his country, as well as European/international cinema generally – in the first instance as a singular voice in the art of film, but also as an exact observer and commentator of cultural, aesthetic and political developments, as well as a teacher. His films – the first shorts were made at the end of the 1950s – are united by a precise and sensitive approach to their protagonists in times of political and social upheaval. They are critical, empathetic studies of the consequences of the historical ruptures in Europe over the past 100 years on individual lives. However, the films always go beyond particular moments, bringing the human, moral and personal crystallizations – the fields of tension between power and resistance, identity and assimilation, art and politics – into the present. To kick off a series of international programs and retrospectives to celebrate the director’s birthday, we will be showing six films from his nuanced oeuvre, which ranges from concentrated Kammerspiel to huge expansive productions featuring star casts. We are pleased to welcome István Szabó himself to Arsenal on 2nd and 3rd February. arsenal cinema spalte normal preview Sun, 25 Feb 2018 16:27:00 +0100 Magical History Tour
 – Lost Films Found An immeasurable amount of lost or incomplete films are hidden in the shadows of film history. Films can disappear for all sorts of reasons: they fall victim to political upheavals, are inexpertly stored or given inadequate attention and thus damaged, or - as is the case for the nitrate film material that was widely used up into the 1950s - they succumb to chemical decay. Until the end of the silent movie era, films were deliberately destroyed on a regular basis because they were not considered valuable. Some 70 to 80 percent of all silent movies were lost. Databases, websites and campaigns of all kinds bear witness to the major efforts of institutions and individuals to unearth and make visible individual films. The British Film Institute once published a list of the “75 Most Wanted”, with Alfred Hitchcock's first feature film (1926) in first place - it hasn’t been found to this day. With eight films, the Magical History Tour presents stories about loss and censorship, about seeking and (sometimes chance) finding. arsenal cinema spalte rechts preview Sat, 24 Feb 2018 16:48:00 +0100 The DEFA Foundation presents The DEFA Foundation is commemorating the 200th anniversary of the birth of Karl Marx with a short film program. His life and works inspired directors in the DEFA’s studios for animated film, feature films and documentaries to make all kinds of productions. The romantic LIEBESBRIEFE (Love Letters) provides a sensitive portrait of the pre-marriage years of Karl Marx and Jenny von Westphalen. In an episode for DEFA KINOBOX 1988/61, Helke Misselwitz depicts the later life of the Marx family in London. In the animated films LIEBER MOHR – PERSÖNLICHE ERINNERUNGEN AN KARL MARX VON PAUL LAFARGUE and EIN JUNGER MANN NAMENS ENGELS, Marx’s companions have their say. In FOTOGRAFIEN, Peter Voigt underlays photos of workers with Marx quotations. MOHR UND DIE RABEN VON LONDON (Helmut Dziuba, 1968) is an adaptation of the eponymous children’s book that depicts Marx showing children who have to work nightshifts in a London spinning works various paths of resistance. (jh) (5.2.) arsenal cinema spalte rechts preview Wed, 14 Feb 2018 16:18:00 +0100 Book presentation: Kino Arbeit Liebe. Homage to Elisabeth Büttner Elisabeth Büttner understood cinema as a space for collective experience as well as a space of possibility for the ego and as a space of affect and awareness at the same time. She valued film because of its openness for great but also inconspicuous events, for contradictions and resistance, for gestures and phantoms. Without cease, she traced the politics of images and their connections, always insisting that films not only told stories, but had and made stories and history in their own way. This book published by Christian Dewald, Petra Löffler and Marc Ries perceives itself as an experimental obstacle course of the working methods of a precise and sensitive researcher, a politically-engaged and self-critical thinker. It will be presented as part of a program featuring films by M. Wallin, L. Ponger, P. Tscherkassky, K. Kren and more. (cd/pl). In cooperation with Vorwerk 8. (8.2.) arsenal cinema spalte rechts preview Tue, 13 Feb 2018 16:19:00 +0100 Big cinema, small cinema #18: Circles, spirals and stones A spiraling spiral; a triangular shape comes into the picture; a circle that emerges and collapses. Can films be told without a plot? Just as some painters have tried to make do without objects or composers without tonality, filmmakers have over and over again tried to eschew plot. In OPUS 2 (G 1921) and OPUS 3 (G 1924) by Walter Ruttmann, the main characters are geometrical shapes and their movements. In Hans Richter’s FILMSTUDIE (G 1926), people, faces and constructed objects appear while in Mary Ellen Bute's short film ESCAPE (USA 1937) and Lara Faroqhi’s CIRCLE PHASES (G 2018) the idea is to use pictures to make visible musical works. We want to explore whether stories can be told even if there is no real plot. (af) (11.2., for all those aged 8 and above) arsenal cinema spalte rechts preview Mon, 12 Feb 2018 16:20:00 +0100 Filmspotting: Exploring the Deutsche Kinemathek's Film Archive A man receives a mysterious commission from his late wife. He has to scatter the ashes that he buried 15 years earlier in India. His return to the South Asian country is also a trip into his past love. This story provides a fictional frame to tell the woman’s real story: Her arrival in the GDR, how she was regarded as an exotic being, how she met the filmmaker Lars Barthel at film school and how the two got married, had a daughter with whom they first went to India, then to West Berlin. The biographical documentary MEIN TOD IST NICHT DEIN TOD (Lars Barthel, G 2006) portrays a last, imagined encounter between two lovers, in which the realm of the dead is united and reconciled with the beauty of life. (ah) (26.2.) arsenal cinema spalte rechts preview Sun, 11 Feb 2018 16:21:00 +0100 Filmmakers' Choice Jean Renoir once said that "the art of cinema is to approach the truth of the people." In my film, OLGA & OLGA (2017) I wanted to know what feminism, love and freedom meant for two friends in the Soviet Union. In Márta Mészáros' feature film ÖRÖKBEFOGADÁS (Adoption,1974), women assert themselves against their parents, teachers and lovers. The short film HISTOIRE D’UNE FEMME (2005) by Karim Souaki documents the life of an elderly woman in Tunis on the margins of society. All three films try to approach the living conditions of women in their social environment from different cultural perspectives. (em) (28.2., presented by Eleonore de Montesquiou) arsenal cinema spalte rechts preview Sat, 10 Feb 2018 16:26:00 +0100 Berlin premiere: A STRANGE NEW BEAUTY Luxury homes, tastefully furnished, well cared for but devoid of people: This is the way the world of Silicon Valley presents itself in A STRANGE NEW BEAUTY (USA 2017) by the New York filmmaker and artist Shelly Silver. Attention is directed to details while the screen divides into smaller squares over and over again; images are layered over writing and over voices, whose origin remain hidden to us. "Thus we learn of the world behind the appearances. A world ruled by dominance and submission. By strategies to overcome fear. And by the antagonism between the "natural" pursuit of happiness of a very few and the collateral damages produced in the process. Because ultimately this film by Shelly Silver is a narrative of barbarianism and how, brilliantly refined, it manages to present itself as strangely new and beautiful – 'a strange new beauty' indeed." (Ralph Eue) (1.2., Shelly Silver will be present) arsenal cinema spalte rechts preview Thu, 08 Feb 2018 14:38:00 +0100