On September 7, arsenal distribution is releasing IN THE LAST DAYS OF THE CITY (AKHER AYAM EL MADINA) by Tamer El Said in collaboration with Wolf. The film, which received its world premiere in the 2016 Forum programme and won the Caligari award, has been playing at numerous international film festivals since. It tells of Khalid who wanders through Cairo in search of ideas for a film, as the city and his private life seem to be falling apart in equal measure. Memories of better times and conversations with friends intertwine in this homage to a metropolis on the brink.

The Goethe Institute in Brussels is presenting four films from this and last year's Forum programs as part of its "German Film Festivals on Tour" series at BOZAR. On September 18, the program opens with AUS EINEM JAHR DER NICHTEREIGNISSE (FROM A YEAR OF NON-EVENTS) by Ann Carolin Renninger and René Frölke (Germany 2017), followed by a Q&A with René Frölke and Birgit Kohler. The evening is completes with the screening of EL MAR LA MAR by Joshua Bonnetta and J.P. Sniadecki (USA 2017).

On September 19, CASA ROSHELL by Camila José Donoso (Mexico/Chile 2017) and TA’ANG by Wang Bing (China 2016) can be seen.

Dutchman Robby Müller (*1940) is regarded as one of the most significant European cinematographers of the second half of the 20th century. On the occasion of the "Robby Müller – Master of Light" exhibition at the Filmhaus from July 6th to November 5th, the Deutsche Kinemathek – Museum for Film and Television is screening a selection of six films from Müller’s oeuvre. The series was originally conceived by the Dutch film museum EYE and places a special focus on Müller's collaborations with directors Hans W. Geißendörfer, Wim Wenders, Jim Jarmusch, and Lars von Trier. Robby Müller has received numerous awards for his camerawork and played a decisive role in the success of a whole generation of German independent auteurs from the 70s onwards, before he mainly started working in the USA towards the end of the century. The most important aspects of Robby Müller's visual compositions are his preference for natural light, his moving camera, and the dramatic color schemes he adapts to the respective subject of the film.

The summer Tarkovsky retrospective is a tradition that has grown dear both to us and our audiences for more than 25 years now. In August, we are showing the seven feature films and one mid-length graduation film by Russian director Andrei Tarkovsky (1932–1986), whose monumental oeuvre exudes a lasting fascination.

Flaming manifestos, trailblazing texts, and dynamic blueprints for the future are at the heart of the Magical History Tour in August. All these writings revolve around nothing less than a fundamental renewal or a liberation of cinema from restraints and conventions of a commercial, aesthetic, narrative or political nature, about proclaiming a new form of cinema that formulates clear political and artistic positions. Each of the selected manifestos has a film placed alongside it, which is either a cinema "adaptation" of the text or is mentioned within the text and is usually written by the author in question.

This year's Summer School takes place from August 24-26 at silent green Kulturquartier and the Arsenal cinema. Entitled "ONE PLUS ONE. Curating the Archive", it is focussing on questions of digitizing, restoring, and long-term archiving which are currently topics of great concern for the Arsenal.

Time is running short, since analog films are already threatened with disintegration, and the costs are so great that as a rule financing first has to be found for every effort. Despite the pressure to act quickly, we should not overlook that collective memory also contributes to how we engage with film history in the long term. Films live on in the memories of those who have seen them. The way that a film gets burned into memory is closely linked with the conditions of its reception. When, how, and under what conditions was a film seen? What other films or film events framed the screening?

One Plus One: The Summer School 2017 assumes that an archival film can only have significance in relation to the present, and cannot be remembered separately from the concrete situation of its presentation. The contributions and workshops are about the practice of curating. How do I create spaces for perceiving archival films, in which film history can become an experience of the present? How can exhibition and screening practice contribute to the formation of memory and thus to the processes of archiving?

"Run, comrade, the old world is after you" is the English translation of the title of this program, which stems from one of the slogans of the French '68 movement. This slogan found its way in turn into SOLEIL Ô (1969), probably the most well known film by Med Hondo, the avant-garde filmmaker, actor, and voiceover artist who was born in Mauretania and has been living in the Paris banlieue for more than 50 years now.

In his lengthy career as an independent filmmaker, Med Hondo hasn't just made films that reveal the political topicality of African and diaspora history and dared to make artistic breakthroughs in the process. He has also succeeded in setting cinema itself in motion and developing alternatives to European and American production and distribution structures. The film program of the exhibition and film project "Cours, cours, camarade, le vieux monde est derrière toi" curated by Enoka Ayemba, Marie-Hélène Gutberlet, and Brigitta Kuster is aimed at the vanishing point which speaks forth from Med Hondo's films against social encrustation and ignorance towards everyday racism. Med Hondo's films draw their power from the need to be always be one step ahead of constraints, prejudices, and regulations in order to create a space for oneself, for anger, for big images, for a pluriversal historiography, for corporealities, colors, and temperatures.

Med Hondo is a self-made man who begun working in theater and appropriated the methods of filmmaking in uncompromising fashioning: with his head, his heart and senses, with passion, eclecticism, and fashionable moments and ruptures. Seven of the twelve films made by this cinematic border-crosser between 1968 and 2004 will now be shown anew and in combination with auteur films, experimental films, and video art. The intention here is to emphasize connections based on geography, motifs or the senses and he points of contact with different forms of abstraction and sound and to amplify the echoes of Med Hondo's cinematic cosmos, which extends beyond the Mauritanian/Algerian/Western Saharan/Malian/Caribbean, and Parisian film locations and his own origins.