The next event as part of our series for children takes place on February 16, for all those aged 5 and above: Sometimes life is wild and spectacular at the theater and cinema. Actors dress up and become magical beings. Women become butterfly women in Segundo de Chomóns LES PAPILLONS JAPONAIS (France 1908), artistes rise out from tiny boxes in a marvelous way in MAGIC BRICKS (France 1902) by the Pathé brothers. In ROSALIE DANSEUSE (France 1912) by Roméo Bosetti and THE MASQUERADER (USA 1914) by Charles Chaplin misadventurers achieve their goal humorously by disguising themselves with masks and costumes. Afterwards, there will be a chance to make masks and perform together. The composer and pianist Eunice Martins will provide live accompaniment.

Our next event for children takes place on January 19: The work of film projectionists in the cinema usually takes place out of view – in the projection booth behind the audience. This program gives an insight into the art of film projection and what it means to project analogue film prints. The film PREMIÈRE SÉANCE (Philippe Truffault/Auguste & Louis Lumière, France 1895/1995) about the legendary first cinema screening by the Lumière brothers in Paris in 1895 lays out the historical threads. The colorful, squeaking COLORFILM (Standish Lawder, USA 1972) shows how film strips turn into music when put through a 16mm film projector. After the screenings of the 35-mm Lumière print and the 16-mm film by Standish Lawder, filmmaker James Edmonds will show his collage-esque Super8 WE ALL LIVE IN THE BLUE IMAGE FOREVER (Germany 2007–2018) in a double screening with two film projectors in the cinema. Then, audience members will be invited to visit the projection booth and try their hand at playing projectionist themselves. For everyone aged 5 and more.

The next edition of our children's film studio takes place on Sunday, December 15.

Work seldom appears in film, even though it’s full of exciting and playful processes which filmmakers can also show an interest in. In OFENBAUER (East Germany 1962), Jürgen Böttcher and five cameramen follow how an old furnace is removed from a coal mine and a new one is installed: tense faces, examining hands, the sound of rushing wind, and steel cables stretched almost to breaking point. Harun Farocki and Hartmut Bitomsky watch children playing in TRANSPORT 1 + 2 (West Germany 1973), as well as how they recognize that greater strength is obtained by working together. In VERLORENE FORMEN (Germany 2019) by Anna Faroqhi and Haim Peretz, two girls observe the laborious, centuries-old process of bronze casting in England. Following the screening, Anna Faroqhi and Haim Peretz will shoot a short stop-trick film with the audience about work.

For all six years and up.

The work of film projectionist in the cinema usually takes place out of view – in the projection booth. This short film program to take part in introduces children to the job of the film projectionist and gives an introduction to the art of film projection. The film PREMIÈRE SÉANCE (France 1895/1995) about the legendary first cinema screening by the Lumière brothers in Paris in 1895 lays out the historical threads: in the early days of the cinema, the film projector was still set up in the auditorium and operated by a hand crank. The colorful, squeaking COLORFILM (Standish Lawder, USA 1972) shows how film strips turn into music when put through the film projector. In the Cuban documentary POR PRIMERA VEZ (Octavio Cortázar, Cuba 1967), a travelling cinema passes through the most remote corners of Cuba and brings films to people that have never been to the cinema. A truck serves as a projection booth and place for sleeping.

An event as part of the SchoolCinemaWeeks on November 13, moderated by Stefanie Schlüter, classes: 1–3. Registation necessary.

The archive — traditionally defined as a repository or ordered system of documents — has incessantly played a significant role in the construction of historical knowledge. Manifesting itself in various forms of traces, it remains until today the primary site for storing, retrieving and interpreting the past. But how could the archive account for all the moments that have not been recorded, the moments of which there has not been a physical trace as such?

The 10-week workshop is participatory, discussion-based, multi-disciplinary and open to artists, writers and researchers with interest and/or experience in the subject matter. Sessions will start on October 15 and will take place weekly through December 17 every Tuesday from 6pm to 9pm at silent green Kulturquartier.