August 2021, arsenal cinema

Retrospective Andrei Tarkovsky

IWANOWO DETSTWO, 1962

The summer Tarkovsky retrospective is a tradition that has grown dear both to us and our audiences for 40 years now. We are showing the seven feature films by Russian director Andrei Tarkovsky (1932–1986), whose monumental oeuvre exudes a lasting fascination.

IWANOWO DETSTWO (Ivan's Childhood, USSR 1962, 15. & 22.7.) traces "the story of a character who is born as a result of war and ends up being consumed by it" (A.T.). During the Second World War, twelve-year-old orphan Ivan comes across the Red Army in the Dnieper region and cannot be dissuaded from working behind enemy lines as a spy and courier for the Soviet troops. Tarkovsky skillfully weaves together the plot of the film with Ivan's dreams, memories, and fantasies.

The artist and the power of the state clash in uncompromising manner in ANDREI RUBLEV (USSR 1966–69, 16. & 24.7.). This monumental Cinemascope film is split into eight chapters and depicts legendary icon painter Rublev (around 1360–1430) as an enlightened humanist artist on the cusp of the modern era. The inhuman war and power politics of his employer plunge him into a profound creative crisis, whilst at the same time providing the impetus for an exploration of the complex situation of the artist within society.

SOLARIS (USSR 1972, 17.7. & 5.8.) is based on the novel of the same name by Stanislav Lem. The story focuses on the journey undertaken by a psychologist named Kelvin, who is sent to the sea-covered planet of Solaris to investigate strange occurrences on the research station there. Kelvin gradually comes to realize that the mysterious ocean on Solaris is capable of making the dreams, fears, and regrets of the men on the space station take material form.

In the heavily autobiographically influenced SERKALO (Mirror, USSR 1975, 25.7. & 8.8.), the protagonist reveals his life, memories, fears and obsessions, the son of divorced parents in search of lost time and his own identity. His private fate is linked to the traumas and upheavals in Soviet society between 1930 and the 1970s.

STALKER (USSR 1980, 20. & 23.7.) Led by a local scout who lives in a rundown industrial landscape on the edge of the world, a scientist and a writer set out into the mysterious "zone", which is allegedly home to a place where one's most secret wishes come true. The expedition becomes a journey into the protagonists themselves, into a whole world of imagination and silence.

NOSTALGHIA (Italy/USSR 1983, 18. & 27.7.) "I wanted to depict the Russian form of nostalgia, that mental state entirely specific to our nation which grips us when we are far away from home." A Russian writer also finds himself far from home after going to Italy to gather material on an Italian composer whose biography he wants to write. He is, however, overcome by an overpowering yearning for his geographical and spiritual home.

OFFRET (The Sacrifice, Sweden, France 1986, 3. & 15.8.) A solitary, isolated island forms the setting for OFFRET: 50-year-old Alexander's birthday celebrations are in full swing when news of an atomic strike stops the party guests in their tracks. Tarkovsky's vision employs striking images and dialogue to connect a poetic film language with a philosophical religious discourse.

 

 

arsenal cinema: Archival Assembly #1

09:30 am silent green Kulturquartier


Symposium „After the Archive“

Symposium “After the Archive”
in collaboration with Goethe-Universität Frankfurt

9.30–9.45h
Introduction with Sonia Campanini (Goethe-Universität Frankfurt), Stefanie Schulte Strathaus (Arsenal – Institut für Film und Videokunst)

9.45–10h
Greeting: Andreas Görgen (Director General for Culture and Communication at the German Federal Foreign Office)

10–11.30h
Transnational Cooperation and Decolonial Strategies in Film Culture Institutions
With: June Givanni (Pan African Cinema Archive), Giovanna Fossati (Eye Filmmuseum, University of Amsterdam), Erica Carter (King’s College London), Tom Rice (University of St Andrews), Brigitta Kuster (Humboldt-Universität Berlin), Rebecca Ohene-Asah (National Film and Television Institute [Accra-Ghana])
Moderation: Stefanie Schulte Strathaus

11.45–12.45h
Transnational Cooperation and Decolonial Strategies in Film Culture Institutions – Project “Film Culture and Archival Studies” Master’s Program (University of Jos, Nigerian Film Corporation)
With: Chidia Maduekwe (Nigerian Film Corporation), Jeremiah Methuselah (National Film Institute, Nigeria), Tanko Ishaya (University of Jos), Nancy King (University of Jos), Ellen Harrington (DFF – Deutsches Filminstitut & Filmmuseum), Stefanie Schulte Strathaus, Didi Cheeka (Lagos Film Society)
Moderation: Vinzenz Hediger (Goethe-Universität Frankfurt)

14–15.30h
What Do We Train for? Future Roles in Film Archiving and Curating
With: Ellen Harrington, Michael Loebenstein (Österreichisches Filmmuseum), Nancy King, Juana Suárez (New York University), Pablo La Parra Pérez (Elías Querejeta Zine Eskola), Simone Venturini (Università degli Studi di Udine)
Moderation: Sonia Campanini

15.45–17.15h
Film Curatorship Between Theory and Practice
With: Janet McCabe (Birkbeck University of London), Marc-André Schmachtel (Goethe-Institut), Stefanie Schulte Strathaus, Madhusree Dutta (Akademie der Künste der Welt Köln), Aboubakar Sanogo (Carleton University, African Film Festival of Ottawa), Jihan El-Tahri (Dox Box)
Moderation: Erica Carter

Free entry, registration at archive@arsenal-­berlin.de
arsenal cinema: Archival Assembly #1

07:00 pm Cinema 1


Kulba na barna

Kulba na barna Brendan Shehu Nigeria 1992
35 mm OV/EnS 104 min
Print from the National Film, Video and Sound Archive (NFVSA) of the Nigerian Film Corporation (NFC), Jos

Guest: Didi Cheeka (Lagos Film Society)
arsenal cinema: Archival Assembly #1

10:00 pm Open­ air­ cinema at Haus der Kulturen der Welt


Töchter zweier Welten

*Töchter zweier Welten Serap Berrakkarasu FRG 1990
DCP | OmE | 60 min
Premiere der digital restaurierten Fassung