https://www.arsenal-berlin.de/ en https://www.arsenal-berlin.de/typo3conf/ext/tt_news/ext_icon.gif https://www.arsenal-berlin.de/ 18 16 TYPO3 - get.content.right http://blogs.law.harvard.edu/tech/rss Sun, 07 Feb 2106 07:28:15 +0100 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7766/2923/news.html Passionate rebellion and his desperate need to tell stories at any cost brought him to film, realizing his vision of a cinema combining social engagement and romantic devotion in his 13 features, shaping, examining, and celebrating humankind’s struggle for a dignified, self-determined life in great images of tremendous clarity: Swedish filmmaker Bo Widerberg (1930–1997) left behind a shimmering, multi-faceted oeuvre and was already regarded as one of the most important Swedish directors alongside Ingmar Bergman and Victor Sjöström in his lifetime. Unlike them, however, his work is hardly known outside his home country. arsenal cinema spalte normal preview Mon, 29 Apr 2019 21:50:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7767/2923/news.html White suits, red shoes, black coasts, dark sunglasses – there is many a piece of clothing or accessory to be found over the course of film history that seems to encapsulate an entire film, even outside of its immediate context. Yet even before costumes attain this iconic status, they tell stories within the film, give their wearers new life, conceal hidden depths, create atmospheres, and leave their mark on the look, texture, and often even the soundtrack of films. The dramatic, narrative, and psychological function of costumes in film is undisputed, as is their influence on the zeitgeists, fashion trends, and styles which they call into existence, play a role in, and launch. The Magical History Tour invites audiences to take a look into the studios of international costume-makers, fashion designers and artists from seven decades. arsenal cinema spalte normal preview Sun, 28 Apr 2019 21:51:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7768/2923/news.html More than 60 female directors were active at DEFA’s different studios between 1946 and 1992. In its new book publication “Sie. Regisseurinnen der DEFA und ihre Filme” (She. Female Directors at DEFA and their Films), the DEFA Foundations presents the biographies of these directors in essayistic form. Three documentary works by different female directors from the 80s are being shown to represent the diversity of productions of the time, with all three creating portraits of women of different ages in East Germany: Gitta Nickel’s Gundula – Jahrgang ’58 (1982), Helke Misselwitz’s 35 FOTOS – FAMILIENALBUM EINER JUNGEN FRAU (1984), and Leonija Wuss-Mundeciema’s DIE ÄLTESTE – VERMÄCHTNIS EINER 108-JÄHRIGEN (1986). The comedy WIR LASSEN UNS SCHEIDEN (1967) was Ingrid Reschke’s second directorial work at the DEFA Feature Studio. The film focuses on a married couple (Dieter Wien und Monika Gabriel) in the process of separating and their ten-year-old son, who wants to take advantage of the situation. The film was shot predominantly in Berlin. (pz). (1.4.) arsenal cinema spalte rechts preview Sat, 27 Apr 2019 21:51:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7769/2923/news.html Artist Lothar Baumgarten, who died at the end of 2018, spent 18 months with the Yãnomãmɨ of Kashorawë-theri and Yapitawë-their in 1978/79, two local societies living on the Orinoco in the forests between Venezuela and Brazil. It was here that the six sequences (partly in black and white, partly in color) were created that make up the film SEÑORES NATURALES YÃNO­MÃMƗ, which was shot on an Arri in 16mm. In these sequences, Baumgarten accompanies the everyday life of these half-nomadic groups with participatory distance: on their wanderings through the tropical rainforest, on their collective searches for food, while building a new round village, constructing a boat and travelling down river; and, as a dramatic climax, during the celebration rituals and reunion with other Yãnomãmɨ communities. The footage comes together to form an image of a cosmos lived in a such a way that, today, forty years later, only exists in fragments. Baumgarten’s film is the elegiac testimony to a tropical life and world coming to an end. (mag/mo) (6.4.) arsenal cinema spalte rechts preview Fri, 26 Apr 2019 21:52:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7770/2923/news.html Loosely based on historical events around 74 BC, Stanley Kubrick’s 1960 film epic tells the story of a slave uprising in ancient Rome, which begins in a gladiators’ school under the leadership of Thracian slave Spartacus and builds into a national movement. This social revolutionary utopia adapted from the novel by Stalin Prize winner and Communist Party member Howard Fast and filmed from a script by Dalton Trumbo was Stanley Kubrick’s breakthrough, who had replaced Anthony Mann following a dispute with leading actor and producer Kirk Douglas after just a few days of shooting. “The only film I didn’t have absolute control of” impressed with its extraordinary visual compositions and choreographed crowd scenes, as well as with its all-star cast, including Laurence Olivier, Jean Simmons, Charles Laughton, Peter Ustinov and Tony Curtis. We are showing the 1991 reconstructed, uncut version. (hjf) (7. & 22.4.) arsenal cinema spalte rechts preview Thu, 25 Apr 2019 21:53:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7772/2923/news.html AEG MAHA (Time Out, 1984) is an animated film by Priit Pärn about a cat whose day transforms into a series of surreal dreams. PÔRGU (Hell, 1983) by Rein Raamat enters into the life of Estonian graphic artist and painter Eduard Wiiralt from the early 1930s in three steps (“The Preachers”, “Cabaret”, and “Hell”). In HULLUMEELSUS (Kaljo Kiisk, 1968), a Gestapo officer looks for a spy in a psychiatric hospital. The film, a critique of totalitarianism, was banned, but Tallinnfilm, who produced it, hid the archived duplicate. Today, prints of the film exist in Tallinn and in the Arsenal film archive. Thanks to the Eesti Filmi Instituut. Presented by Eléonore de Montesquiou. (edm) (11.4.) arsenal cinema spalte rechts preview Tue, 23 Apr 2019 21:58:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7771/2923/news.html We are welcoming New York performance artist Narcissister as our guest. Her work is about the question of how racist and sexist stereotypes are produced by fetishization. A film has been created from her radical artistic practice: NARCISSISTER ORGAN PLAYER (2017) is a hybrid of performance and documentary that explores how the data of our ancestors is stored in our bodies and determines our lives. At a personal level, the film examines how the artists’ complex family history brought her to create the masked, erotic figure of Narcissister. (stss) (10.4. moderated by Marc Siegel at Arsenal, 11.4. at Yvonne Lambert Gallery). arsenal cinema spalte rechts preview Tue, 23 Apr 2019 21:53:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7765/2923/news.html From April 3 to 10, the 10th Arab Film Festival Berlin – ALFILM will be presenting artistically ambitious cinema comprising a selection of current features and documentaries together with shorts and animated works. The films move back and forth between Europe and the Arab World, reflecting on the individual fates of people who live on the margins of society or whose lives have been marked by historical upheaval. Many of the works pose questions about community and change, a blessing and a curse in equal measure. The ALFILM Shorts explore stories of people at turning points, the experimental short films of “lab/p 3 – poetry in motion” were created in collaboration between German and Egyptian directors and poets. arsenal cinema spalte normal preview Tue, 23 Apr 2019 21:49:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7773/2923/news.html Film on celluloid is one of several options. The possibility to select a film medium hones the gaze for the container, for what holds the images. The analogue film materiality makes an indelible impression in the consciousness, becoming a copy in the process. This program accompanies a practical seminar at the UdK on the materiality and corporeality of analogue filmmaking and film viewing. The selection of film taps into the idea of the corporeality of the film material, of the visual motif, of cinematography, of watching. STADT IN FLAMMEN (1984) by Jürgen Reble thus depicts the fermentation of the emulsion itself, while Cathy Joritz undermines the power of the image of NEGATIVE MAN (1985) by scratching the carrier layer. Man Ray’s LE RETOUR À LA RAISON (1923) celebrates the promise of a new medium and Carolee Schneemann re-appropriates the authority over body images in FUSES (1965–68). Finally, WEISSFILM (1977) by Birgit und Wilhelm Hein celebrates the erotic of film as film. (bs) (25.4.) arsenal cinema spalte rechts preview Mon, 22 Apr 2019 21:59:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7774/2923/news.html The Spanish Civil War ended on April 1, 1939. During the war and the Franco dictatorship, 140,000 opponents of the regime were likely killed. Dealing with the past remains difficult to this day in Spain, with keeping silent on the war and dictatorship becoming an unwritten law for the democratization of the country following Franco’s death in 1975. The “Behind the Graves” series curated by Clara López Rubio and Wolfgang Martin Hamdorf grapples with how Spain’s past has been dealt with in film. Two documentaries by Lucía Palacios und Dietmar Post open the series: LOS COLONOS DEL CAUDILLO (Francos Siedler, 2013) is a guided tour of one of the model villages of the Franco dictatorship. FRANCO ON TRIAL: THE SPANISH NUREMBERG? (2018) reconstructs the crimes of the regime from the first massacres during the Civil War in 1936 to the last executions shortly before Franco’s death and the police massages in the “transición” era. A discussion with the filmmakers will follow the screening. (cl) (26.4.) arsenal cinema spalte rechts preview Sun, 21 Apr 2019 22:00:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7775/2923/news.html We are presenting two films by Polish cinematographer Julian Kernbach, who will attend the screenings. UŁASKAWIENIE (Jan Jakub Kolski, Poland 2018, 29.4.) The post-war era in Poland. Hanna and Jakub are mourning their son Wacław, who fought against the German occupying forces until 1945 and afterwards against the Communist government in Poland. A visually commanding, cinematic lament, narrated in the style of a road movie in the period just after the war, in which reference is repeatedly made to classical motifs. VIA CARPATIA (Klara Kochańska, Kasper Bajon, Poland/Czech Republic/Macedonia 2018, 30.4.) shows us the refugee crisis as a marital crisis between Piotr and Julia. One day, they find out that Piotr’s Syrian father is in refugee camp in Greece and that they are supposed to pick him up there. Laconically and as if by accident, the camera collects impressions of modern life, casual and unspectacular. A program by the Polnisches Institut Berlin. arsenal cinema spalte rechts preview Sat, 20 Apr 2019 22:01:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7776/2923/news.html This selection of seven short films by actor, director and film producer Eberhard Weißbarth is a trip back to West Berlin in the 80s and 90s. Tegel Airport and Café Kranzler are just some of the locations where these stories of loneliness, misunderstandings, and difficult relationships are set. Eberhard Weißbarth will talk with Martin Koerber about making the films and the production context in Berlin before the fall of the Wall in 1989/90. The multi-award-winning films were digitized last year and are now available as a part of the Deutsche Kinemathek’s distribution range. (ah). (29.4.) arsenal cinema spalte rechts preview Fri, 19 Apr 2019 22:02:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7777/2923/news.html The UdK’s film institute presents new monographies by graduates of the Art and Media program. In his documentary GONE, Jin Xingzheng accompanies two families in a run-down, nearly abandoned village in the remote province of Central Zhejiang in Eastern china, the left-behind losers of modernity who are struggling to survive. Yalda Afsah’d documentary short BOY is the portrait of a 13-year-old girl who grows up as a boy in Masar-e-Scharif/Afghanistan, a film about roles determined by society and the fight for self-determination. Kristina Paustian’s experimental documentary ZAPLYV examines the life of a drop-out commune in Russia. The film won the Arte Documentary Film Prize at the Duisburger Filmwoche. Marta Popivoda shows her installation MASS ORNAMENT #1. WATCH OUT FOR GORILLAS IN YOUR MIDST! in the foyer – a complex reflection on mass events in the last years of Yugoslavia. Attended by the filmmakers. (ta) (30.4.) arsenal cinema spalte rechts preview Thu, 18 Apr 2019 22:02:00 +0200 https://www.arsenal-berlin.de/en/arsenal-cinema/current-program/single/article/7778/2923/news.html Our archive researcher Vaginal Davis and Daniel Hendrickson are guests at b_books! b_books is a bookstore, publisher, film production company, and event space in Kreuzberg and on hand each year at the Berlinale with a stand in the Arsenal foyer. Two films produced in collective contexts will be shown. Kartemquin Films has been producing documentaries in Chicago for over 50 years: WINNIE WRIGHT, AGE 11 (1974) tells the story of a working-class family living in Gage Park, Chicago, where African-Americans are increasingly moving to the previously mainly white district. Pacific Street Films was founded in 1969. FRAME-UP: THE IMPRISONMENT OF MARTIN SOSTRE was made in 1972 about the Puerto Rican owner of a bookstore in Buffalo, who is wrongly sentenced for drug possession and assault and is incarcerated in Attica. (stss) (8.4.) arsenal cinema spalte rechts preview Wed, 17 Apr 2019 22:03:00 +0200