As opposed to a shot-reverse shot montage which joins contradictory points of view together in a sensible way, the interchange of cinematography is in a position to leave relevant perspectives in their singular manner. When filmmakers film themselves mutually or a cameraman suddenly takes the position of the performer in front of the camera, specific forms of dialogue are reflected, whether they are connected to political viewpoints and/or refer to sexual fantasies. Explicit changes of view can be seen in Hollis Frampton and Joyce Wieland's avant-garde classic A & B IN ONTARIO for example as can shifts of view in Carolee Schneemann's FUSES. (23.9., presented by Rainer Bellenbaum)

HELIO OITICICA won both the Caligari Film Prize and the FIPRESCI Jury Prize at this year's Berlin Film Festival. Before the film's theatrical release on 3. October, it will be screened as part of the Caligari Film Prize Tour at Frankfurt on Main's Film Museum (29.9) and at Kino Arsenal (30.9) in the presence of the director himself. Other cities will follow. To coincide with the film release, the MMK Museum of Modern Art in Frankfurt is showing the first German retrospective of Hélio Oiticas' oeuvre that will run from 28. September to 12. January 2014.

The Toronto International Film Festival (TIFF), which is taking place from September 5-15, is showing the three Greek films from this year’s Forum as part of its "City to City" program: I KÓRI (THE DAUGHTER) by Thanos Anastopoulos, I AIONIA EPISTROFI TOU ANTONI PARASKEUA (THE ETERNAL RETURN OF ANTONS PARASKEVAS) by Elina Psykou and STO LYKO (TO THE WOLF) by Christina Koutsospyrou and Aran Hughes. Each year, the festival’s "City to City" program places a focus on filmmaking from a particular city or country. This year, Athens is in the spotlight, where a whole range of brave and original films have emerged during the crisis that make use of only the scantest financial means. A total of ten films will be shown as a part of the program.

Cinematheques, cultural institutions that are hardly 100 years old, have to re-organize themselves in the face of radically changed technological circumstances and different user expectations. On the occasion of the 50th anniversary of the Deutsche Kinemathek, a colloquium on September 13-14 undertakes to examine its purpose. Examining the institution and its development, as well as its current understanding of itself and other institutions will reveal the social, political and aesthetic role cinematheques play everywhere. The time has come to redefine the tasks and perspectives of a modern cinematheque: How can they and film archives continue to be, or once again become central sites of film culture, of creation and of agency for expert knowledge of film? How should practices of collection be defined and snares avoided? How can access to a collection be created and how can the treasures collected in an archive be transmitted - in exhibitions, in screenings or in completely new ways? For two days, archivists, curators and guests from other European cinematheques will discuss concepts and ideas for how they can keep film culture alive.

To celebrate our anniversary, we are presenting new prints of six films from our collection with the help of the Capital Cultural Fund in Berlin. CHIRCALES (Brick Workers) by Marta Rodríguez and Jorge Silva (Colombia 1972) is about a large family that makes bricks from mud for a pittance but then is laid off. Observing in documentary fashion and featuring an off-camera commentary, the film analyzes the relationship between workers deprived of rights and poverty. We will also show Harun Farocki's ZUM VERGLEICH (G 2009), a documentary about brick production in Africa, India and Europe, made almost 40 years later. The comparison between traditional, early and highly industrialized society sheds new light on CHIRCALES. (16.9.)

IN BLOOM (GRZELI NATELI DGEEBI) by Nana Ekvtimishvili and Simon Groß and A STRANGER (OBRANA I ZAŠTITA) by Bobo Jelčić have received main awards of the Sarajevo Film Festival: The Georgian film IN BLOOM was awarded "best film"; its two main actresses Lika Babluani and Mariam Bokeria shared the award for best female lead. The Croatian-Bosnian film A STRANGER was given the special jury award while its main actor Bogdan Diklić received the award for best male leading role. Both films premiered in this year's Forum program.

Seijun Suzuki (*1923), the eccentric genius of the Japanese studio system, started out at the Shochiku studio as an assistant director in 1946 before moving to Nikkatsu in 1954, where he made his directorial debut in 1956. At Nikkatsu, he was employed as a contract director, producing cheap B-movies in conveyor belt style for the double bills standard at the time. Suzuki countered the constant sameness of the scripts with stylistic determination and unbridled resourcefulness, creating genre films that pushed at the boundaries of convention. His irrepressible desire to experiment, carry out radical frenzies of destruction and break rules paired with his ironic distance to the laws of the Yakuza cosmos are the mark of a truly unmistakable filmmaker. He subverts genre conventions and frees them above all from their moral ballast, while his visually exuberant style is full of colorful excess, a predilection for motifs with a monochrome background, extreme camera shots and surreal situations. The heads of Nikkatsu, where he shot 40 films in just 12 years, found this all too colorful after a while and fired him after BRANDED TO KILL, arguing that his films were “incomprehensible”. He stopped working for ten years before returning in the 80s and 90s with the independently produced Taisho trilogy, in which he took formalization and aestheticization to new extremes.