The border between life and death is by no means absolute, not in modernity either. The numerous characters in a state of apparent death populating the history of literature and science since 1800, for example, are telling. Today, in times of high-tech intensive care, the phenomenon of coma seems to take on the function of challenging the border between life and death.

Slightly more than a year after we re-launched the Magical History Tour, we again address the first theme: color in film - a good opportunity to catch up on what one missed, to discover new films, and again deal with the development of color film, one of the most significant aesthetic innovations in cinematography. Color in film is an important component of the organization of images and the filmic dramaturgy, and also a basic element of filmic perception. With eight full-length and sixteen short films - examples of viraged and hand-colored films, and shot on the most various material from Technicolor to Eastmancolor - we give a brief overview of the wide range of treating and utilizing color in cinema, between being ascribed to a narration and retaining autonomy.

The weekly program curated by Tobias Hering invites various artists and filmmakers to present their work and discuss it in the context of selected films from the repertory of political cinema. What does it mean today to "make film political"? What are the themes of this kind of work, how are aesthetical issues reflected, and what does a political understanding of one's own work entail for production processes and fields of distribution? The series seeks to trigger intensive debates with the audience.

The ONE WORLD BERLIN Film Festival for Human Rights and Media will take place for the seventh time this year. Fourteen programs will be shown at Arsenal from Nov. 25 through Dec. 1 - documentaries and one feature film. Directors, experts on human rights, and other guests will accompany the program with discussions and talks.