Starting with a tear in a film by Chris Marker's LA BATAILLE DES DIX MILLIONS (Cuba 1970), the program investigates Europe's projections onto revolutionary Cuba. Apart from important films in the Arsenal, works by Nicolás Guillén Landrián who has long been forgotten will be shown in Berlin for the first time. A second program is dedicated to the experimental works of the filmmaker Sara Gómez who died at an early age. In the "European" part of the program, works by those who visited Cuba after the revolution and with whom Gómez and Landrián worked will be shown: The aforementioned Chris Marker and Theodor Christensen, whose filme ELLA (1964) was shot with Cuban crew. Christensen worked closely with the young Cuban filmmakers in the 1960's, among them Sara Gómez and Nicolás Guillén Landrián. (23./24.6.). At KW Florian Zeyfang presents the video installation “Splicefilm”, an homage to Birgit and Wilhelm Hein's WEISSFILM.

On the last Sunday in June, we are presenting three of the eight DVDs we are releasing with Filmgalerie 451 as part of the Living Archive project.

A double DVD with two films by Philip Scheffner: THE HALFMOON FILES (2007) und DER TAG DES SPATZEN (2010) will be presented in an image-based discussion with the director and Nanna Heidenreich. A DVD featuring films by the West Berlin filmmaker Riki Kalbe who died in 2001 will be presented in the form of a slideshow. Finally, a DVD with classics of Sheila McLaughlin's queer cinema (1978–87) will be presented and bonus material screened - a discussion between McLaughlin, Heinz Emigholz and Stefanie Schulte Strathaus. All 20 films will be shown in their entirety in July. (30.6.)

We are delighted to present Eva Heldmann's STEPPING OUT (FREMD GEHEN. GESPRÄCHE MIT MEINER FREUNDIN) on our VoD-channel at realeyz.tv.

Constantly on the look out for a bit of sex and fun, Eva Heldmanns friend Annette makes regular forays into the club world on American army bases in Frankfurt and the surrounding area. Annette’s candour, the provocative way this German academic discusses her sexual desires, as well as her penchant for on-camera exhibitionism whenever she happens to find herself beside a black GI, illuminates a side of female sensuality that is rarely portrayed. Annette’s alert and inquisitive erotic behaviour and her own ‘outrageous’ take on life doesn’t merely change our view of the male world at the barracks – it turns it upside down completely.