Arsenal: Current Program en Arsenal: Current Program 18 16 TYPO3 - get.content.right Sun, 07 Feb 2106 07:28:15 +0100 Ruth Beckermann Retrospective Ruth Beckermann has been making documentaries for 40 years. Her name stands for a political cinema that explores Austria, Judaism, questions of individual background and collective identity, as well as their fractures and ambivalences, on the basis of precise observation. The Nazi era, anti-Semitism, xenophobia and migration are subjects in all of her works. From a trilogy of films about Jewish life (WIEN RETOUR, DIE PAPIERENE BRÜCKE, NACH JERUSALEM) to her first and only feature film so far, DIE GETRÄUMTEN, and her current film WALDHEIMS WALZER, for which she has just won the Berlinale’s Documentary Award, Beckermann’s multi-layered oeuvre has been characterized by multi-faceted passages between the present and the past. Her examination of history always takes place alongside present constellations. A journey usually underlies her films, movement is their constitutive moment: the movement of a journey, quest, thought process. Beckermann does not seek to find a closed narrative form, but is consistently open to various approaches, with her film practice becoming freer and more essayistic over the years. She transmits her always personal perspective as an off-screen narrator and commentator; her documentary work is distinguished by the presence of her unmistakeable voice with its tinge of Viennese. Arsenal is presenting a program of the 11 feature-length documentaries made by Ruth Beckermann between 1983 and 2018. We are very pleased to welcome the filmmaker for a series of Q&As from 19th to 21st April thanks to the support of the Austrian Cultural Forum. A book about Beckermann’s oeuvre published in 2016 (by Alexander Horwath and Michael Omasta) will be on sale at the box office. arsenal cinema spalte normal preview Sat, 28 Apr 2018 18:20:00 +0200 Magical History Tour: Land in sight – landscapes in film One cannot imagine film without landscapes. The scenery is as variegated as the potential and functions of these topographies are comprehensive and diverse: Landscapes in films tell stories, express moods, can play the lead, become psychic landscapes or places of longing. They are symbolic foils, islands of stasis within the frequently breakneck flow of the plot. Landscapes are "the freest element of film, the least burdened with servile, narrative tasks, and the most flexible in conveying moods, emotional states, and spiritual experiences" (Sergei Eisenstein). Since the beginning of cinematography, film has made prolific use of this mutable vehicle for conveying ideas: Early screen images of both exotic foreign locations and the native countryside quickly merged into genre films with an intensive use of landscapes. And yet even outside of this genre, a broad panorama of landscapes has opened up in the areas of documentary, fiction, and experimental filmmaking which we shall examine in 12 films in April. arsenal cinema spalte rechts preview Fri, 27 Apr 2018 18:23:00 +0200 filmPOLSKA_Kamerakunst: Małgorzata Szyłak One of the novelties of last year’s filmPOLSKA was the creation of a competition to strengthen young Polish filmmakers. Anna Zamecka’s documentary Komunia (2016) won it and the jury expressly mentioned the impressive work of the camerawoman and art historian Małgorzata Szyłak. This particular tribute provided us with a welcome occasion to invite Małgorzata Szyłak with two of her films back to Berlin to talk about her work. arsenal cinema spalte rechts preview Thu, 26 Apr 2018 19:20:00 +0200 New Cinema Release In 2011, an archive of film and audio material re-emerged in Guinea-Bissau that documented the liberation struggle against the colonial power Portugal (1963 - ’74). SPELL REEL (G/Portugal 2017) by Filipa César is the result of a multi-layered research and digitalization project in cooperation with the Guinean filmmakers and liberation fighters Sana na N’Hada and Flora Gomes. After studying film in Cuba in the early 1960s, the two began using the camera as an observer. The material that was found again was digitalized by Arsenal, to then be screened in various places, commented, discussed and newly imagined. An itinerant, transnational cinema has made the archive into a place between remote villages in Guinea-Bissau and European capitals, where people search for alternatives to a world in upheaval. SPELL REEL opens April 12 in the cinemas. We will be previewing it at Arsenal on April 10th in the presence of the director and other guests. We will present other film materials and there will also be a Q&A. There will be further screenings at Neukölln’s Wolf Kino on 11.4 and on 13.4 in Wedding’s Archive Kabinett where the book “Luta ca caba inda. Time Place Matter Voice. 1967–2017” will also be presented. arsenal cinema spalte rechts preview Fri, 20 Apr 2018 19:29:00 +0200 THE DEFA Foundation presents In the most recent volume of the DEFA Foundation’s series, Günter Jordan looks at the Dutch director Joris Ivens, whose work was closely connected to the DEFA and the GDR for almost 20 years. “Unbekannter Ivens. Triumph, Verdammnis, Auferstehung. Joris Ivens bei der DEFA und in der DDR 1948–1989” paints the portrait of a fascinating artist, describing the production of his DEFA films and examining their value and impact. JORIS IVENS – ER FILMTE AUF 5 KONTINENTEN (1963) shows the filmmaker in the editing suite and talking about his work. WINDSBRAUT (1998) portrays his wife, the filmmaker and actress Marceline Loridan-Ivens, with whom he made many films. Ivens co-directed DIE ABENTEUER DES TILL ULENSPIEGEL (1956), a Franco-East German co-production, with Gérard Philipe, who also played the role of the trickster who fought against Spanish rule. (jh) (9.4.) arsenal cinema spalte rechts preview Fri, 20 Apr 2018 19:22:00 +0200 Big cinema, small cinema #20 What’s ringing, scratching, rustling there in the film? Ever since films were first shown in 1895, they have been accompanied by sounds and music. Today, a sound track collects sounds, music and noise. Before ourselves experimenting with sounds and noise and coming up with ideas for a soundtrack for DIE EXPEDITION ZUM SÜDPOL (Astrid Rieger, D 2002) that we will then perform live, we will find out what can be seen and heard in six shorts: In STUDIE NR. 9 (G 1931) by Oskar Fischinger and TRADE TATTOO (USA 1937) by Len Lye, sounds become movement, SIDEWALKS (USA 1966) by Marie Menken runs behind the lines on the sidewalk and DAS HEMD (D 1996) allows objects to become independent. LE PUITS FANTASTIQUE (F 1903) shows us astonishing transformations and in RIVERRED (G 2011), siblings play on a river bank. DIE EXPEDITION ZUM SÜDPOL turns us into polar explorers.(em) (22.4., for everyone aged 8 and up) arsenal cinema spalte rechts preview Thu, 19 Apr 2018 19:23:00 +0200 Time and memory: The cinema of Terence Davies Time and memory are central elements of Terence Davies’ films. The British director was born in 1945, the youngest of 10 children. His childhood was overshadowed by his father’s violence and a repressive form of Catholicism. His understanding that he was gay was associated with feelings of shame and guilt. His works explore these experiences, from the early very autobiographical films to his later literary adaptations. The past and present are tied together in a unique fashion and the characteristics of memory, which is fragmentary and erratic, connected to emotions, music and individual people, are accommodated. Davies does not talk about the life of his protagonists as a chronological sequence of events but more as a thickly-woven rug of dreams and needs, encounters and disappointments. Caught up as they are in their own lives, the protagonists cannot escape their past, just as Davies’ films are not interested in linear narration. Long, still shots, associative montage and flowing transitions provide the aesthetic equivalence of this specific form of of exploring time. Arsenal will show all eight of Terence Davies’ feature films. We are very pleased to welcome Terence Davies on April 5 & 6. arsenal cinema spalte normal preview Wed, 18 Apr 2018 18:10:00 +0200 Filmmakers’ Choice We Have To Learn How To Enjoy The Beauty Of Life: Beauty seems fatuous, manufactured with suspect intentions. It seems more shrewd to become close friends with bleakness. But in combination, can beauty and bleakness generate more complex reflections? A clue is in the title of this program, a quote from THE SHOE (1986). The teacher demands beauty, insisting that white chalk is red or blue, and that rainbow drawings can be made with broken pencils. The insistence on nonexistent beauty generates beauty in the effort to suspend belief.All these works include such suspensions. In XÉNOGÉNÈSE (1982), a man in suit and tie navigates scraped lines amidst trash. IMAGES OF A CENTER (2005) speaks of such a utopian social order, that off-screen realities are brought deeper into relief. And in YUMEN (2013), the depleted landscape of a former oil extraction town becomes the final stage set for wandering humans and 16mm film, the medium of ghosts. (jl) (23.4.) arsenal cinema spalte rechts preview Tue, 17 Apr 2018 19:26:00 +0200 Filmspotting: Exploring the Deutschen Kinemathek’s film archive “If there had had not been Hitler, I would have been a German-Jewish child, more German than Jewish, born in a small village in southern Germany. But I was born in Argentina and my mother tongue is Spanish. I came to Germany in 1960.” This is how Jeanine Meerapfel begins her film IM LAND MEINER ELTERN (In the Country of my Parents, FRG 1981), a search for the possible roots of her Jewish identity, a search that always comes face to face with German reality. Ordinary things suddenly seem different through the eyes of the 10-year-old Anna Levine, they become clearer. This film is at once a personal diary and a mirror of social reality in West Germany. The digital restoration is being screened for the first time, followed by a discussion with the filmmaker. (ah) arsenal cinema spalte rechts preview Mon, 16 Apr 2018 19:27:00 +0200 Living Archive Residents This month, we are welcoming the current Living Archive residents to Arsenal: the filmmaker Anna Azevedo (Rio de Janeiro) and the filmmaker and archivist Leandro Listorti (Buenos Aires). The two will present a program consisting of films made by them and others from the Arsenal archive. Azevedo’s documentary DREŽNICA (Brazil, 2008) was compiled with amateur Super 8 images from the 1970s and describes a lyric journey through the images and dreams of blind people. “Drežnica” is a place where snow meets the sea, where the days are full of stars and the nights flooded with sunlight. It can only be “seen” by people who cannot see. VACANCY (G,1998) is a draft for a utopian city, a place abandoned by its inhabitants, a museum kept alive only for its watchmen. Matthias Müller interweaves his own footage with extracts from amateur films and features filmed in Brasilia. Leandro Listorti will present the collaborative film project SUCESOS INTERVENIDOS (Argentina 2014). The archive of the “Sucesos Argentinos”, a weekly newsreel that was screened in the cinemas from 1938 to 1972, is housed in the Pablo C. Ducrós Hicken Film Museum in Buenos Aires. To underscore the urgency of digitalizing the archive, the museum invited filmmakers to produce new works on the basis of the newsreels. The Living Archive residency was founded in conjunction with the Goethe Institute in 2011. (mr) (8.4.) arsenal cinema spalte rechts preview Sun, 15 Apr 2018 19:27:00 +0200 9. ALFILM – Arab Film Festival Berlin The 9th Arab Film Festival Berlin – ALFILM will take place from 11th to 18th April at Arsenal and other cinemas. Feature films and documentaries will provide an extensive insight into the contemporary cinema of the Arab world and the diaspora. A side program entitled SPOTLIGHT: Reflections on Arab Masculinities will explore the changing concepts of masculinity in Arab cinema from the 1970s to the present. A podium debate on 15th April with the filmmakers Merzak Allouache, Mohammed Soueid, Mohammad Hammad and Eliane Raheb as well as an audiovisual presentation by Rasha Saiti on 15th April will offer the opportunity to gain a profound appreciation of the subject and the history of film. The curator and author Rasha Salti divides her time between Berlin and Beirut, organizing international exhibitions and film programs related to Arab cinema and art. With support from Berlin's Senate Department for Culture and Europe. arsenal cinema spalte normal preview Fri, 13 Apr 2018 18:13:00 +0200