Arsenal: Current Program en Arsenal: Current Program 18 16 TYPO3 - get.content.right Sun, 07 Feb 2106 07:28:15 +0100 Splendid Isolation: Hong Kong Cinema 1949–1997 An exceptional cinematic movement of unrivaled creative force and imagination developed in post-war Hong Kong, which at the time was still a Crown colony. At the beginning, the industry latched onto Hollywood genre models but also to the pre-war cinema of Shanghai, producing adaptations of classical operas, modernist melodramas and popular martial arts films. These were the cornerstones of a unique and differentiated genre and star system that engendered screen legends from Linda Lin Dai to Chow Yun Fat. “Splendid Isolation” traces a line from the little-known early era of Hong Kong cinema, via the popular genre films and auteur works of the 1970s and ’80s that garnered great acclaim at international festivals, to the offshoots of the 1990s, which became part of the broader Chinese film production after the colony’s handover in 1997. Though the cinema of the city state was associated through personal and institutional continuities with Chinese filmmaking of the pre-war era, until the 1970s it was as cut off from the Chinese mainland as it was from cinema markets outside of Asia. This gradually began to change with the international success of martial arts films and the first films of the New Wave at the end of the 1970s. Despite the efforts of certain distributors in Germany, the visually impressive films of the late 1980s and 90s could often only be seen at festivals and still await a comprehensive rediscovery. This program gives a unique insight into Hong Kong’s multi-faceted cinema, presenting the films from archives all over the world in their original 35-mm format. It includes classics as well as largely forgotten gems. We are particularly pleased to welcome Hong Kong star director Ann Hui. This programme is curated by The Canine Condition (Lukas Foerster, Nikolaus Perneczky, Fabian Tietke, Cecilia Valenti) in cooperation with Lorenzo Berardelli. arsenal cinema spalte normal preview Sat, 31 Mar 2018 16:34:00 +0200 Time and memory: The cinema of Terence Davies Time and memory are central elements of Terence Davies’ films. The British director was born in 1945, the youngest of 10 children. His childhood was overshadowed by his father’s violence and a repressive form of Catholicism. His understanding that he was gay was associated with feelings of shame and guilt. His works explore these experiences, from the early very autobiographical films to his later literary adaptations. The past and present are tied together in a unique fashion and the characteristics of memory, which is fragmentary and erratic, connected to emotions, music and individual people, are accommodated. Davies does not talk about the life of his protagonists as a chronological sequence of events but more as a thickly-woven rug of dreams and needs, encounters and disappointments. Caught up as they are in their own lives, the protagonists cannot escape their past, just as Davies’ films are not interested in linear narration. Long, still shots, associative montage and flowing transitions provide the aesthetic equivalence of this specific form of of exploring time. Arsenal will show all eight of Terence Davies’ feature films before 9th April. arsenal cinema spalte normal preview Fri, 30 Mar 2018 16:44:00 +0200 Magical History Tour – 
Two become one It is well known that most films are the result of a creative group process. March’s Magical History Tour focuses on the smallest possible community in the cinematic creation process: A creative team of two that often works closely together over years and decades to create a characteristic body of work which bears the mark of both members. arsenal cinema spalte normal preview Thu, 29 Mar 2018 16:45:00 +0200 DAAD grant holder Pelin Esmer is our guest The Turkish filmmaker Pelin Esmer (*1972) is currently the guest of the DAAD's Berlin artist-in-residence program. She has made five films, functioning as screenplay writer, producer and editor. Whether making documentaries or fiction films, she always explores the situation in Turkey today. arsenal cinema spalte rechts preview Wed, 28 Mar 2018 17:05:00 +0200 THE DEFA Foundation presents The theater actor, director and auteur Manfred Karge turns 80 in March. To celebrate, the DEFA Foundation is presenting two of his films. GEWÖHNLICHE LEUTE (1969), Rainer Simon’s part of the anthology film AUS UNSERER ZEIT, accompanies Hannes (Manfred Karge) and Adele (Heidemarie Wenzel) on their honeymoon. In flashbacks, they reminisce on times spent together. Simon creates a realistic picture of society in everyday episodes. Playing Gilbert Wolzow in Joachim Kunert’s anti-war film DIE ABENTEUER DES WERNER HOLT (1964) was one of the most laconic roles that Karge assumed at the DEFA. Adapted from the first part of the eponymous novel by Dieter Noll, the film uses different time levels to tell of the friends Holt (Klaus-Peter Thiele) and Wolzow (Manfred Karge), who are conscripted into the army during the last days of World War Two. (jh) (5.3.) arsenal cinema spalte rechts preview Tue, 20 Mar 2018 14:24:00 +0100 KinoPolska WSZYSTKIE NIEPRZESPANE NOCE (All These Sleepless Nights, Michał Marczak, PL 2016, 7.3., guest: Michał Marczak) follows two art students through different underground clubs, open air raves and chill out areas in and around Warsaw. Night and day, the bass drum and soundscapes, moments of being high and sober all alternate in scenes filmed at real-life events. There is dancing, smoking of pot, kissing, chilling out, drinking and talking - everything is transitory, caught in the moment and then gone. JAK ŻYĆ (How to Live, Marcel Łoziński, PL 1977, 8.3., Introduction: Michał Marczak) is set in a holiday camp for young newly-weds. The idea is to instill values approved by the Party in these couples during an active vacation with education and integration programs. The principles become increasingly distorted: Participants compete for the title of the best couple, subject themselves to the strict drills and begin to control each other. arsenal cinema spalte rechts preview Mon, 19 Mar 2018 14:25:00 +0100 FilmDocument: Working in the cinema Maria Stadler once ran a cinema now named in her honor in the village of Bad Endorf in Franconia. Wolfgang Berndt and Doris Dörrie, who at the time were students at the University of Television and Film in Munich, stumbled on her during their research on rural cinemas in Germany. In OB’S STÜRMT ODER SCHNEIT (FRG 1977), they documented Maria Stadler’s tireless efforts to keep her cinema alive. She does everything from chopping wood to heat the cinema, to advertising the films by bicycle and renting out the cinema for concerts and Punch and Judy shows. Berndt and Dörrie’s feature-length debut provides an insight into a life devoted to the cinema. A CineGraph Babelsberg event in cooperation with the Federal Archive Film Archive and the Deutsche Kinemathek. (ft) (12.3., Introduction: Fabian Tietke) arsenal cinema spalte rechts preview Sun, 18 Mar 2018 14:25:00 +0100 Arsenal: Big cinema, small cinema #19 Do animals look back too? People like looking at animals: At the zoo, in the circus and in the cinema. This program centers on experimental and early films where animals are the main attraction. In CATFILM FOR KATY AND CYNNIE (USA 1973), felines are the protagonists of an artistic experiment. In ENNESKEABEN (DK 1909) and HUNDE-VARIETÉ (F 1907) performing animals show what they can do: A chimpanzee rides a bicycle on stage and costumed dogs dance. In ÜBUNG ZUR GELASSENHEIT I–III (2002–2004) nobody takes any notice of the holy cows that sit and relax on busy roads in the jungle of big Indian cities. In LA GENETTE (F 1912) and TROIS AMIS (F 1909), people get closer to animals in the wild. A genet plunders a bird’s nest and blunders into a trap. Two children in an African country feed a small elephant that chases them away. We look at animals in so many ways, but do they look back? (sts) (For children and adults aged 5 and above from 18.3.) arsenal cinema spalte rechts preview Sat, 17 Mar 2018 14:26:00 +0100 Filmspotting: Exploring the Deutschen Kinemathek’s film archive The young historian Elisabeth arrives in Lyon. She has left her husband and child behind to be able to confront the city with open eyes and ears. She is reading the diary of Flora Tristan, a French 19th-century socialist and feminist who was a significant influence on activists and thinkers of her time, but was later forgotten. Elisabeth wants to reconstruct Tristan’s life in as sensual a way as possible and to make it “palpable” through the sounds and noises she records - an echo of history that mirrors her own time. We are premiering the digital restoration of DIE REISE NACH LYON (FRG 1981) to celebrate the 75th birthday of the director Claudia von Alemann, who will be present. (ah) arsenal cinema spalte rechts preview Thu, 15 Mar 2018 14:26:00 +0100 Berlin Premiere: WAS UNS BINDET The mother gardens a lot, she makes jam, she picks mushrooms and looks after the home and the dog. The stubborn father likes to spend time away from home. He delivers pizza, dances at a carnival party and goes to Expo Milano. Although they split up almost 20 years ago, these two very different characters still live under the same roof in the Salzburg mountains, he cooped up in the basement, she upstairs in an apartment. The Berlin-based filmmaker Ivette Löcker focuses her tragicomic family portrait WAS UNS BINDET (Ties That Bind, A 2017) on this arrangement - the father has given her his half of his old farmhouse. She observes, asks questions and gets involved, speaking with sisters who live elsewhere and appearing in front of the camera as part of the family dynamics. Between closeness and distance, sympathy and feelings of guilt, sadness and humor, the family here and in general proves to be an ambivalent construction. (bik) (27.3.) arsenal cinema spalte rechts preview Wed, 14 Mar 2018 14:27:00 +0100 New Arsenal Edition DVD – Specters of Freedom: Cinema and Decolonization Arsenal Edition is releasing its 12th DVD in March, the compilation “Specters of Freedom: Cinema and Decolonization” which comprises four films from Arsenal’s collection: Monangambeee (Sarah Maldoror, 1969), Mueda, memória e massacre (Ruy Guerra, 1979), LA ZERDA ET LES CHANTS DE L’OUBLI (Assia Djebar, 1982) and Reassemblage (Trinh T. Minh-ha, 1982), as well as two milestones of Mozambican cinema, Estas São As Armas (Murilo Salles, 1978) and deixemme ao menos subir Às palmeiras (Joaquim L. Barbosa, 1972). It is the first time that these will be available on DVD. The edition is pertinent today, as a multi-faceted contribution to the aesthetics of resistance against colonial violence. The Goethe Institute has supported the release, on which Filmgalerie 451 cooperated. We will show the films by Assia Djebar and Joaquim L. Barbosa at the DVD presentation. (th) (2.3.) arsenal cinema spalte rechts preview Tue, 13 Mar 2018 14:28:00 +0100 Public Screening – The Harun Farocki Institut presents Skip Norman, who was born in Baltimore in 1933 and died in Washington DC in 2015, was a student at the German Film and Television Academy Berlin (DFFB) in 1966, the first year of its existence. He went on to become a director and worked on 27 dffb productions. The titles of his films all hint at the struggle to assert an Afro-American identity in a world shaped by whites. CULTURAL NATIONALISM (1969), BLACK MAN’S VOLUNTEER ARMY OF LIBERATION (1970) or STRANGE FRUIT (1970) named after the song by Billie Holiday. BLUES PEOPLE (1968) adapted parts of the play “Dutchman“ by his peer LeRoi Jones (who later became Amiri Baraka). “They say, ‘I love Bessie Smith‘ and don’t even understand that Bessie Smith is saying, ‘Kiss my ass, kiss my black unruly ass.‘“ We will be showing five of Skip Norman’s films from Arsenal and Deutsche Kinemathek’s archive. (HaFi). (22.3.) arsenal cinema spalte rechts preview Mon, 12 Mar 2018 14:28:00 +0100