october 2018, arsenal cinema

King of New York – Abel Ferrara Retrospective

Abel Ferrara is a survival artist. An artist who has survived much, a survivor who makes art, and who sometimes make his own survival into art. He survived a childhood in the Bronx and a strict Catholic upbringing, as well as countless subsequent alcohol and drug escapades. He has also survived as a filmmaker, as he was able to reinvent himself several times over the course of his career. He started out in the 70s quite literally in the gutter, shooting filthy exploitation and porn films in the darkest corners of his home city of New York, which had yet to see any sort of gentrification. In the 80s, he worked his way into the mainstream and had become one of the key representatives of the new American independent cinema by the 90s. Today, most of his films are made in Europe.

But it’s ultimately unimportant who produces Ferrara’s films, which genre he works in, whether he has large amounts of money and a vast studio apparatus at his disposal or whether he makes his films with a few close friends and funds them more or less from his own pocket; he still tackles every project with the same irrepressible energy. All that really counts in his cinema are its moments of highly personal affect. In her book on Ferrara, French film scholar Nicole Brenez described this idea as follows: “Ferrara needs the crowd, the street, and human commerce. His critique does not use the weapons of objectivity; it responds to the real like a sigh responds to a kiss, or a cry answers a blow.”

From October 5-29, Arsenal is showing twelve feature-length films by this exceptional director from all phases of his career. The selection was curated by Lukas Foerster.

october 2018, arsenal cinema

Family Affairs – Cinematic Relationships Between Georgia and Arsenal

The various relationships between Arsenal and Georgian cinema are complex and stretch far back into the history of our institution. Since the first week of Georgian films in 1975, Georgian films have repeatedly been shown in our cinema program and at the Forum, while prints of Georgian films have entered our distribution range and archive. One year ago, we presented a part of this collection in a comprehensive film series and were able to welcome numerous directors to discuss their films with the audience. These conversations with Lana Gogoberidze, Salomé Alexi, Merab Kokotschaschwili, Gela Kandelaki, Otar Iosseliani and Dito Tsintsadze, a panel discussion about Georgian films in archives, as well as two essays about Georgian film history and the history of censorship there have now been brought together in a trilingual (German, English, Georgian) publication that is fresh off the press. With this in mind, we are showing further films from our collection from October 22-31, and are very happy to welcome Otar Iosseliani to Arsenal once again, who has made all the digitally restored versions of his films available to us for distribution.

october 2018, arsenal cinema

Magical History Tour – Of Shadows, Sprits, and Supernatural Powers

Film’s ephemeral, eerie, and uncanny nature takes shape in the fleeting form of shadows, ghosts and supernatural powers, coherent and unstable in equal measure. Ghosts of history, cultures, and myths, shadows ranging from those cut out of paper to those created by moonlight, and the dark sides of protagonists often brought to light by the figure of the doppelganger all foretell the uncanny, the strange, and the unknown. In the darkness of the movie theater, we encounter the shudder as the original principle of cinema, which equally plays with time, identity, perception, and disbelief. Perhaps we even sense our own shadowy side at times in the liminal zone between projected, imaginary images. This month’s Magical History Tour invites viewers to attend eleven very different encounters – with magical rites, restless ghosts (including some benign ones or even one in kilts), unperturbed messengers from the other side, and illusionary shadows.

october 2018, arsenal cinema

Film:ReStored_03: The Festival of Film Preservation

For the third time now, from October 25-28, “Film:ReStored” is presenting recently digitized films accompanied by lectures and studio reports dedicated to questions surrounding how we can digitize our cinematic heritage. This year’s focus is on the combined efforts of film and television archives in keeping cinematic heritage alive. The history of German film since the 60s would look very different without the role played by television. To this very day, up-and coming-directors receive support from television and some big box office successes are made possible via funding from individual broadcasters.

october 2018, living archive

Digitally Restored and New in Distribution: STORIES OF THE DUMPSTER KID (West Germany 1971) by Ula Stöckl und Edgar Reitz

“The Stories of the Dumpster Kid are a cineaste revolution for our country.” (Peter W. Jansen, Die Zeit, 23.7.1971) The dumpster kid, an anarchic, antisocial, artificial character, grows out of a thrown-away placenta and learns inquisitively what is expected of her and much more. She is misunderstood, rubs people up the wrong way, is punished, discredited, murdered, and yet still can’t be killed. With the 22 short films of different lengths, Stöckl and Reitz positioned themselves outside the cinema system in radical fashion. They turned a Munich cabaret theater into a “pub-cum-cinema” where the guests could order individual Dumpster Kid episodes from a menu. In this way, a unique film experience was created each time by the new combination of the stories.

With this idea in mind, the STORIES OF THE DUMPSTER KID are going on a “pub-cum-cinema” tour right across the country from October 11 onwards, also visiting places which are hardly classical cinema venues. Pubs, arts associations, small stages, and other unusual spaces can host these anarchic stories, which are full of anger and critique, but above all fun and joy too. The tour starts at the Arsenal “pub-cum-cinema” at silent green Kulturquartier on October 11. Tickets can be bought at the evening box office or in advance at the Arsenal box office at standard cinema prices.

october 2018, transfer

Next Projection Room Tour on October 20

picture of projection room at Arsenal

What do 16mm, 35mm and 70mm actually mean? What is screen masking and what is it used for? How does a dissolve work? And what is actually happening when the image on the screen stops moving and begins to melt? If you’re interested in finding out how films get on to the screen, Arsenal would like to invite you to take a peek behind the scenes on one of our projection room tours. Our projectionist Bodo Pagels will show you round the projection room, tell you all about film formats, projectors and projection techniques, demonstrate how films are fed into the projector and provide a full introduction to the secrets of film projection. He will also be happy to answer any questions you might have about the cinema set-up and will adapt the tour to your wishes and interests as far as possible. The next scheduled tour will take place on Saturday October 20, at 4pm. Please register in advance. 

arsenal cinema: Magical History Tour: Cinematic Strolls, Flaneurs in Film

07:30 pm Cinema 2

Berlin. Die Sinfonie der Großstadt

*Berlin. Die Sinfonie der Großstadt Walther Ruttmann
Germany 1927 With the original music by Edmund Meisel
DCP 67 min

arsenal cinema: Magical History Tour: Cinematic Strolls, Flaneurs in Film

08:00 pm Cinema 1

News from Home

*News from Home Chantal Akerman France/Belgium/FRG 1977
DCP engl. OV 85 min