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| Day Is Done From The Suburbs - Spike Jonze Stories - Jonas Mekas Amnistia | In Heaven, In The Earth
a small settlement in southern California. Located on the shores of the Salto Lake, there is this place from a series of run-down houses and trailers. The Salton Sea owes its existence to a dam break 100 years ago, long time, he was a prosperous and popular destination. Meanwhile, the lake has long been tipped over and spoil, since it lacks any flow. Formerly a tourist attraction, now a fish cemetery. About 100 people still live in the small town of Bombay Beach.
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sting Two other characters show: the black youth CeeJay, who is from Los Angeles in the nowhere fled from Bombay Beach "after his younger cousin, a shootout between rival gangs prey to much. And the old, gnarled pensioner Red, who are always a loaded gun in the trailer. Once oil workers and married, he hits today alone with young cigarette sales and a bottle of vodka through the day. Alma Har'el commutes in their film between the lives of these very different people. Benny's life with pills and daydreams of one day firefighter. Red, the roars at a beach buggy through the nearby desert, until he suffered a stroke. And CeeJay who dreams of becoming a professional football player, and it trained like a madman.
USA 2011
documentation
80 minutes
Koreographien: Paula Present average Joe Lindquist & Alma Har'el  Score: Zach Condon Music: Beirut, Bob Dylan | production: Alma Har'el, Boaz Yakin, Rafael marble
The dramatic thread, so you want him to formulate any, is the story of 1001, Mekas had read the story by chance shortly before. Typed on a typewriter intertitles tell their own story, Mekas' his short films has preceded. Each of the small works has it's own title: "The Story of Green Point", "" The Story of Lefty, "" The Story of Marie Menken, "" The Story of Amy, singing or why normal people in middle class voices ".
The breathtaking at these films in Film are their many stories and characters. 114 minutes long, we look at a microcosm of New York living rooms, clubs and galleries. Well-known and unknown faces we see their romance with Jonas Mekas together or at least in the presence of his little camera, Joko Ono, Patti Smith, Björk, Ben Northover. But it is to identify unnecessary, they are in an interesting way of no importance. Alcohol is more important, it always seems to somehow be present. Drank a lot in SLEEPLESS NIGHTS STORIES, of course. Wine in particular, Jonas Mekas is a wine lover. time plays no role in this film. What for? Those who sleep on the road is, who lives at night, who lives outside of common behavior patterns, for the time per se is irrelevant. Clippings, fragments of nights and days, meetings and lonely moments, travels and tours dominate the canvas. Somnambul appear to the camera and its owner time to time to be on the road. Surreal seems this get-together at times also.
Jonas Mekas SLEEPLESS NIGHTS STORIES is perhaps the dreamy, wondrous and intimate film of the Berlinale 2011th Cinema pur - somehow.
USA 2011
114 minutes DigiBeta, Color, English
Director: Jonas Mekas
Production: Jonas Mekas
18.02. 20:00 OF Kino Arsenal 1 (WP) 20.02. 16:30 OF Delphi Filmpalast  |
| the only survivors among the dead, which the king of the world, a beautiful daughter. To get it, he must defeat three monsters. For that he needs three particular matters. Of course, the objects are quickly at hand and the monsters are easily removed. When the young adventurers, however, the king auditioning on, it takes him prisoner and makes him three actually impossible task. If he fails, then he is crushed by two big cleavers -. To the amusement of the king's daughters, because there are three princesses, all of which look identical |
This is the plot of a story that is a young man, a young woman and an old technician in a closed cinema in a French town think. This story, this little story using their imagination and they share a mysterious machine immediately into a form of reality.
Les Contes de la nuit - TALES OF THE NIGHT is the French fairy-episode film by director Michel Ocelot. The appealing of this work lies in its form. The film is in 3D. And he only uses the silhouette technique, which is the silhouette. Silhouette meets 3D.
unfolds on the screen, the 3D effect of an optical Raumgebung actually more room-less paper-cuts. This looks somewhat surprising and beautifully made. Combined and fitted out the silhouettes, mutates so the scenes with very bright, bright colors, which TALES OF THE NIGHT to a psychedelic stripes. This works as a setting value and visual event for some time. However, exhaust the formal concepts pretty quickly. What runs over 80 minutes, is actually cut off completely after only three quarters of an hour.
stories of kings, heroes, princes, princesses, and mountains of drummers, from mythical creatures and the dead. Les Contes de LA NUIT is irritating to the fable of the keyboard altogether, which raises two problems: the uninspired sequence of episodes fatigue considerably. And the content of the episodes seem yellowing plentiful and dusty. The anachronistic gender and heteronormativity old fairy tale is largely taken over completely unbroken. These urban content and dramaturgical shortcomings curdles his work a enervating piece of film. Much too late and too few breaks director Michel Ocelot that annoying dancing to a touch of irony. The photo charm is here fizzles long ago. France, 2011
84 minutes 3D, French
Director: Michel Ocelot David Weissman. He goes back as they have suffered five protagonists in San Francisco in the early days of HIV / AIDS. His witnesses, including a lesbian nurse on the first AIDS focal point station in the U.S., report their personal stories. This model is known from many other documents can be worked on at this time. Although the narrative superstructure may always be someone else, the events and protagonists are often comparable. People who came from the personal paradise of the free development of symbolic to hell. And then almost a week had friends and lover to forget about. Today they sit around 50 people as before the camera and tell itself through its Faces much of the pain experienced. WE WERE HERE can contribute to the collective memory of the gay movement, therefore, hardly new.
The film is another mosaic, and in fact a portrait of honor for veterans. to call back your experiences in the memory of course is an honorable, correct and interesting concerns. But 30 years and countless similarly stored documentation is later gradually enervating a redundancy. David Weissman shall attempt to, to settle his film in the context of the events in San Francisco. The place where the protest movement against the inaction of the then U.S. administration under Ronald Reagan began. Ultimate failure his efforts but lack the focus.
WE WERE HERE mutated to universal AIDS memorial film. In this context, already 21 years, previously Robert Epstein and Jeffrey Friedman with their documentation actually COMMON THREADS said it all. Manifested on the screen in this film as an endless assembly Talking Heads and using zoom Reanimated Stock Photos. Underlain by an undulating emotionalizing score, developed WE WERE HERE a lot boring and been chewed form. The biggest contribution that can make this documentation nor is their example of how to renovate the cinematic memory and updating the history HIV / AIDS has become.
WE WERE HERE  | USA 2010
| HDCAM 90 minutes, color |
Camera: Marsha Kahm Co-Director, Editor: Bill Weber
Sound: Lauretta Molitor
Music: Holcombe Waller, Doug Hilsing
A dark-skinned woman in a red turtleneck sweater and a large, bushy curly hair sitting in a gray-blue jail cell. Around his neck she wears as an amulet, a microphone. Across from her sits a reporter, you only see a piece of his arm. He raises the question of whether the use of force is legitimate if they force would approve. She replies, long and excited, a story told from her childhood, as white racists bombs in residential neighborhoods of black deposited. She tells of a mayor, who called indirectly to kill black people ". There'll be some bloodshed in the neigbourhood"
The woman who says there is, the black professor and civil rights activist Angela Davis. The question to which she answers, was it made by a Swedish TV correspondent. He and his camera crew Davis in 1971 had visited in custody, where she spent two years because they wanted to blame her involvement in a shooting of a black panther member in a courtroom. 1972 Angela Davis was acquitted of that charge in all respects, the prosecution had proved to be a farce.
The Swedish television reported from the mid 60s to mid 70s hard about the circumstances in which lived blacks in the U.S. and how they tried to change their situation. Angela Davis was just one striking of the many personalities who strongly headed for the Black Power Movement.
THE BLACK POWER MIXTAPE, the docu-essay by the Swedish director Goran Hugo Olsson digs out the time recorded material and mounted it in a certain way on a journey into an era of political protest, of new beginnings and of repression. THE BLACK POWER MIXTAPE is a calm, very attentive work. Brats Hugo Olsson gives these bands a lot of room and keeps his narrative superstructure at a respectful distance. He relies on the charm of these recordings, and rightly so.
 |
| You have to remember cause that the work of the Swedish journalists and their critical attitude towards the American state and its war in Vietnam, major political upheavals of Episode had. These pictures salvaged, so you quickly realize a significant explosive in itself, because they held up in front of the former white majority society in the United States relentlessly the mirror. What the United States acknowledged at times to break off diplomatic relations. |
THE BLACK POWER MIXTAPE 1967-1975 Schweden, USA 2011 94 Minuten
HDCAM, farbe, S / W Englisch, Englisch
Regie, Buch: George Hugo Olsson protagonist: Stokely Carmichael, Angela Davis, Erykah Badu, Harry Belafonte
Schnitt: Hanna Lion Qvist, George Hugo Olsson
Mischung: Anders Nyström Schnitt: Hanna Lion Qvist, George Hugo Olsson
Music: Ahmir Thompson, Om'Mas Keith & The Roots
Production: Annika Rogell, Tobias Janson, Louverture Films, Sveriges Television So 13:02. 12:00 CineStar 7 (E)
Fr 18:02. 17:30 Cubix 7 (E)
(c) Artwork: Berlinale 2011  so it seems. Only a shared bathroom with Mikael little sister Jeanne makes clear for the audience that Mikael actually the boyish girl is Lauren. | TOMBOY offers already in this first sequence by an emotional intelligence and enthusiasm psychology with his credibility. We look LAURE or MIKAEL to play in how she / he is deepening more and more in his self-chosen role as a boy. He studies almost the other guys in the neighborhood and interpreted their increasingly male expectant behaviors. Even if it is the front of some small, but significant problems.
leaves at this level of self-discovery, experimentation and redefinition Celine Sciamma their film until the last third. It is tempting to hope for the possibility of a utopia. But beautiful in this lightweight, warm and atmospheric, tightly directed film has at the end of gender-normative life seems to be the last word. The courage of his main character - to assert with confidence between gender and sex, without knowing himself that there are two concepts at all - that courage may afford the writer of TOMBOY not in the final analysis, however. MIKAEL is obviously sadly only a new beginning - when the girl "Laure".
France 2011
84 minutes 35mm color
French Director, Writer: Céline Sciamma
Camera: Crystel Fournier section: Julien Lacheray
Music: Para One Starring: Zoé Héran, MALONNE Levana, Jeanne Disson, Sophie Cattani, Mathieu Demy
Production: Hold Up Films & Productions
screening in the festival:
screening in the festival:
Fri 11.02.
20:15 CineStar 3 (E)
Sat 12.02. 22:30 Cubix 7 & 8 Interlock (E) Thurs 17.02. 16:30 House of World Cultures Cinema 2 (E)
Thurs 17.02. 17:00 Cubix 9 (E) Sat 19.02. 20:15 CineStar 3 (E)
(c) Picture: (Berlinale 2011) Hold Up Films & Productions
LTD. What do they want them to do. What they do not want, that they do not. Jonas Hinnerkort, Sebastian Muxfeldt and Anton Spielmann - these are three of the band "1000 Robota". 2008 they stood at the beginning of their existence as a musician and at that time began, the director and section champion Sandra Trostel the three boys to accompany the camera. In its documentation UTOPIA LTD. are the first year and a half kept the existence of the tape.
why these guys the interest of the director, had aroused, it soon becomes clear: "1000 Robota" is an event. They defend their existence as an artist early 20s as the Lions. Snotty with an admirable and substantial self-confidence they insist on their style and ideas. What works here, but obviously not a morbid ambition or the hunger for fame, but rather the irrepressible desire for free artistic expression. But they take an almost unbearable suffering and demoralized phase in purchase, you can actually hold only thanks to youthful naivety and inexperience. your first record is created with funds for a medium-sized label. The alleged artistic freedom ends for the boys, however, quickly and with the manslaughter, arguing that their album should contribute to job security in the label. Then have "1000 Robota" simply can not be bothered. From now seems an unspoken war between band and label to rule, three of which drives up to the physical and financial exhaustion. Sandra Trostel camera is in an amazing way everywhere.
strikingly intimate at times, the situations in which Sandra Trostel may accompany their protagonists. We experience moments of injury, the absolute uncertainty and excessive demands. Moments where the band only because of their admirable attitude saved from itself to devour each other. 
They insist on their right and make sure the willing camera as a platform. Your right to be allowed to just be artists without having to submit any recovery logic requires. What seems arbitrary, in general, music and cultural scene, however, has long been a Position of exotic decay. Thinking in marketable categories has won the upper hand, it leaves no doubt Sandra Trostel documentation and presented with "1000 Robota" convincing and credible witness.
Leaving this very viable cultural criticism aside impetus whereby camera and tape fuel each other, then there still remains a thrilling, impressive, personal and trustworthy portrait of three remarkable musicians - and of course their music. UTOPIA LTD. - Create a story about the destination a place to have space. 
They insist on their right and make sure the willing camera as a platform. Your right to be allowed to just be artists without having to submit any recovery logic requires. What seems arbitrary, in general, music and cultural scene, however, has long been a Position of exotic decay. Thinking in marketable categories has won the upper hand, it leaves no doubt Sandra Trostel documentation and presented with "1000 Robota" convincing and credible witness. 
UTOPIA LTD. Germany 2011 90 minutes Documentation HDCAM, color
Director: Sandra Trostel book: Thies Mynther, Sandra Trostel
Camera: Sandra Trostel, Lilli Thal God Editor: Sandra Trost, Nicolai Hartmann 
Sound Design: Thies Mynther mix: Michael Riedmiller
Music: 1000 Robota 
Sound Design: Thies Mynther mix: Michael Riedmiller producers Sandra Trostel, Ilonka Szokola
(c) Images: Sandra Trostel
while a small bottle, apparently a blood sample. Recut. Roger picks up a soldier, actually it is a soldier and she is his daughter Zoe. At first glance, keep to Zoe but for a guy. She has just finished their military service, but the entire movie kept on their uniform. "The whole film about" - this formulation is problematic because it requires any kind whatsoever with chronological plot. Of these, Utopian, the first feature film by Zbigniew Bzymek is far away. 
Zoe is the one who has practiced for Roger. Just arrived home, he engaged them in conversation, the morning rehearsal, the coffee was able to witness. The blood sample is Zoe's friend Maya. The first turn is present only as a topic of conversation. She is sitting with a diagnosis of schizophrenia in a psychiatric clinic. Zoe's father is not the friend of his daughter's enthusiasm. But Zoe stalled the conversation and grabs the bottle - "It's a proof of existence" - she snaps at her father.
Roger works as a yoga teacher. He is apparently always late to class, which strained the patience of his five students. The teachings of yoga are here, at least in clear contrast to the irritated atmosphere umherwabert in Rogers abgewirtschaftetem Training Loft. A parallel between assembling Rogers Zoe's training session and visit with Maya determined in the clinic, the first third of the film. 
Zoe is the one who has practiced for Roger. Just arrived home, he engaged them in conversation, the morning rehearsal, the coffee was able to witness. The blood sample is Zoe's friend Maya. The first turn is present only as a topic of conversation. She is sitting with a diagnosis of schizophrenia in a psychiatric clinic. Zoe's father is not the friend of his daughter's enthusiasm. But Zoe stalled the conversation and grabs the bottle - "It's a proof of existence" - she snaps at her father. What had up to this point even the semblance of a chronological plot, now operates in a selective exposure of the everyday life of three very different people, Roger, Zoe and Maya. The three take a renovation contract to a well-off couple. But already during the first meeting the client, the two young women have to do anything other than the house to explore their own way. It burns Zoe a form that is recorded on the Mayan diagnosis: "Severe Disorder. - "You're not shizoprenic anymore" - she says to Maya. 
black screens separate the individual Sequences that are leaving and their relationship to each other more and more. Utopian disintegrated to the degree in which the lives of three is an ever more volatile. Time jumps characterize the dramatic, brief flashes, little snippets of memory not assigned. The prototypical schizophrenia Maya has something for the narrative of the film.
Utopian works in this form, primarily as a dreamy thoughts sketch of existences, which covers the contents have been lost. Are finding themselves increasingly in an inner emptiness, with no prospect of a new specification of a future life plan. What remains is the attempt to enter into this new void and set up. A risk and a utopia. 
black screens separate the individual Sequences that are leaving and their relationship to each other more and more. Utopian disintegrated to the degree in which the lives of three is an ever more volatile. Time jumps characterize the dramatic, brief flashes, little snippets of memory not assigned. The prototypical schizophrenia Maya has something for the narrative of the film. Utopian
USA 2011
84 minutes
HDCam, Color
English written & directed by: Zbigniew Bzymek 
Camera: Robert Mleczko Actor: Jim Fletcher, Courtney Webster, Lauren Hind, Arthur French, Jessica Jelliffe
Production: Made- Up Language, New York 
Camera: Robert Mleczko Actor: Jim Fletcher, Courtney Webster, Lauren Hind, Arthur French, Jessica Jelliffe screening in the festival: 11.02. 22:30 OmU Kino Arsenal 1 
12.02. 20:00 Cubix 9 OmU 14.02. 11:00 OmU CineStar 8
18.02. 15:00 Cubix 7 OmU 
12.02. 20:00 Cubix 9 OmU 14.02. 11:00 OmU CineStar 8 (c) Image: Berlinale 2011 & Made-Up Language
"My name is Oliver Tate. This film will tell of all my features and experiences, for example, about how I managed to seduce my classmate Jordana Bevan - although I used only my intellectual abilities. Since my parents' marriage by a mystical ninja is endangered, the seminars on physical and mental well-being, it would also be appropriate if the film - would show how I triumph over this man - in the most complex shots. Shots from the helicopter and in slow motion, it should also , But they also reflective moments, as if I my father rid of his depression. As I myself know very well, I would say that the duration of the film is hardly less than three hours. "
This very self-conscious and somewhat precocious statement is the main character in Richard Ayoade movie debut SUBMARINE. For completeness, it should be mentioned that this character, Oliver, just says to himself, he does often. Outwardly he is an almost prototypical representative of a 15-year-old boy: A little overgrown, average looking, too weird to be popular. But not strange enough to go through as a class victims. An adolescent Young halt - dreamy, awkward, reclusive, inwardly and slightly hysterical suicidal. Anything but a nice guy, anyway. Uncomfortable again maybe not.
Oliver's life consists of three main problems: his overtures to the more tomboyish classmate Jordana, so they not only take place in Oliver's head, miserably failed. His parents' marriage is in crisis. And his mother is about to submit to a ninja-New Age guru with a mullet hairdo to the neck. Oliver's penchant for playing God (he types on behalf of other people like letters) but gives him an unexpected advantage in wooing Jordana: You wants to use him for their purposes and he does it with you. Suddenly, there are Polaroid pictures of the two passionate kisses - are the only set. Oliver's reward is to maybe go with Jordana really can. His problems are none the less.
His parents' marriage a depressed marine biologists and a neurotic secretary is in serious danger. The Oliver therefore knows so well because it looks at the bedroom routine and has found reliable ways to determine the frequency of sexual intercourse. And finally they had no more sex, rarely before had a dimmable ceiling light verbose in a movie. The new neighbor a ninja master and known esoteric Fuzzi advances in Oliver's eyes to the greatest risk to the survival of his small family. The evidence for him are also clear, he must act. But the way it is also a wonderful loving time with Jordana experience.
Wales Someday, somehow 80 but then again not. Time is irrelevant in this remarkable film. Oliver's world exists in its own, to at most as an analog characteristic, BC. Settings and especially the light reflect the on their way again. Everything seems slightly yellowing and slightly diffuse. But at the same time always clear. SUBMARINE is a film that tends to successful stylization. Richard Ayoade and his cameraman Erik Wilson are literally photographic tableaux, to vary famous fashion colors, settings and lighting. The whole film seems strangely attracted by the color of warmth and charm of an idealized old Polaroid photos.
SUBMARINE
United Kingdom 2010
94 minutes
35mm, color
English
Director & Writer: Richard Ayoade
Starring: Craig Roberts, Yasmin Paige, Noah Taylor, Paddy Considine, Sally Hawkins production by Warp Films, Film4, UK Film Council  Festivals: TIFF - Toronto 2010 (World Premiere), BFI - London 2010, SUNDANCE - Utah 2011 Berlinale - Int. Film Festival Berlin 2011 |
16.02. 12:30 Arsenal 1 OmdU
18.02. 20:00 Cubix 9 OmdU
19.02. 11:00 OmdU CineStar 8
20.02. 11:00 OmdU HKW Cinema 1 (Cross Section Generation)
(c) Images: Warp Films (
1: via Berlinale 2011 Figure 2 - 5: via
Sundance 2011/Image.net)
(c ) Poster: Warp Films (via joedunthorne.com)
young guy takes his little camera into the bathroom, closes the door, the camera into position, the recording starts, sits down in front and begins to speak: "I killed my mother," he says and begins on the relationship with his Mother relfektieren to. This guy is too beautiful for the boring bathroom around it. In general it seems that this apartment where he lives, to be set up horribly. Plush in the offensive sense, embarrassing the hard way, leopard pattern on the lampshade. He, it fits here already purely not fit visually.
The youthful beauty, this ideal face, this ambiguous view, this gorgeous, black, curly hair, all bites acute with the living environment. And he, Hubert, this actually know the name is inappropriate. "Hubert" (pronounced German), including to set someone completely different from the "Hubert" (French spoken). 
"For most people it is a sin to hate their mother. For me these are hypocrites. They have their mother determined once hated. Maybe a second, even a year. Maybe longer, maybe they have forgotten, is I do not care. But they hated it! "
(Hubert Minel)
Hubert is still in the thick of hate. For a school essay, he says his mother abruptly for dead, and make himself an orphan. Hubert's teacher is a lie sometimes on the track and takes him to task. But Hubert has winning charm and he is clever. He quickly turns the dead mother a bad mother. The teacher buys it from him. Julie, the species name is understood, the turbulent spirit in Hubert and she recognizes him and his writing talent. It developed a friendship. The script has installed the Antipodin to what is waiting at home to Hubert.
sitting at home its boring middle-class mother in her unflattering things on the eye cancer-causing couch, stuffing potato chips into himself and is determined to watch her favorite talk show, rather than Hubert's desire to hear: He want to leave their own in an apartment. Logical. They ignored this too logical.
I Killed My Mother I KILLED MY MOTHER - this is a furious, in any form cinema debut. Dedicated (non-heterosexual), anti-mainstream cinema, which - even aware stunning, boldly and convincingly - his stories of everyday-odd types between borderline syndrome, Coming-Of-Age, personality, anarchy and simple search for love and belonging told. At 16, wrote, implemented with 18 and played the same even from the Franco Canadian Xavier Dolan.
Xavier Dolan (left) & Francois Arnaud Enfant terrible, prodigy - the blah for young talents you can give in this case. This makes a quite simply reckless great cinema. This is solid craftsmanship, combined with artistic talent and the ability to make that claim on screen, convincing, and not to claim that.
His excellent boldly through-composed images, their shimmering vibrancy and its fabulous kitsch evidence of a cinema fetishists, who seems to have been subjected to almost manic making films and not allow any compromises. Xavier Dolan seems Dröge narrative cinema to hate just as Hubert's mother.
Xavier Dolan the person against whom they went there in the personal war disappeared and become someone else's. Another man, in other stories - and problems. But a different kind of second film Xavier Dolans: Les Amours Imaginaire - HEART BEATS
that is already finished and the third film is already prepared to make this incredible talent, this madman - in front of and behind the camera - a most sympathetic director.
I KILLED MY MOTHER Canada 2009
96 minutes 35mm, color and partly b / w
Director, Writer, Producer: Xavier Dolan Camera: Stéphanie Anne Weber Biron
Music: Nicholas Savard-L'Herbier Editing: Hélène Girard
Starring: Anne Dorval, Xavier Dolan, François Arnaud, Suzanne Clément, Patricia Tulasne in San Francisco. At that time he was already nearly 30th
"Howl" was the little prose, a collection of A4 pages, densely typed on a typewriter. What he in "Howl" was processed a variety of influences and experiences in a narrow, fixed consumer America: the death of his mother in a mental hospital. The fate of a revered gay writers - who also was stuck in psychiatry. The disappointed love for a man who did not want to commit to him. A society that is itself behind a facade of middle-class consumption crept and freedom and openness was opposed. The examination of his own homosexuality, with the sex, its precipices, temptations, promises.
David Strathairn as Ralph McIntosh Unique feature of this work was his emotional intelligence, its "tangible" to the reader: ". People would have never shocked by someone who expresses his feelings" - derFilm-Ginsberg says in HOWL. "Howl" was a still not be overestimated part of contemporary American literature. 
- I saw the best minds of my generation destroyed by 
madness, starving hysterical naked,
dragging themselves through the negro streets at dawn
HOWL - this is the first feature film the director duo Jeffrey Friedman and Robert Epstein. So far, they both as a documentary filmmaker, taking as a chronicler of gay history. THE CELLULOID CLOSET, PRAGRAPH 175, THE TIMES OF HARVEY MILK, COMMON THREADS - for the latter two, they won the documentary Oscar.
feature film instead of Doc-Film: Friedman and Epstein are considered masters of their craft. Her work inspired by meticulousness, intelligence and emotion in equal measure. So what is the fascination of the two film makers for a feature film version of the substance? In a
interview
notes Jeffrey Friedman, the only documentary recording of "Howl" and its author, the work is not would be fair. To groundbreaking was the work of a generation. Too alarming and is currently still the value of "Howl".
(c) Image: Pandora Film Verleih
The film is split into four interwoven narrative levels: Ginsberg before the (self-) interview, Reanactments of "Howl" court and "Howl", first read by its author. Moreover, even "Howl" - transformed into comic sequences. Ginsberg's self-interview and the reading of his text are undeniable magic moment of actor James Franco: He interprets his disarming Ginsberg with screen presence and irresistible appeal. He locates his character made man sent between legend and contemporary, well-measured between genius and self-absorbed musings, between the insecure introversion of a young author. And a quivering sexual hubris. Franco's interpretation may well vonAllen Ginsberg is undoubtedly one of the most compelling lead performances in years count. contentious is the comic transformation of "Howl"; closely and and explicitly in their pictures. It raises the question whether it would have taken this further narrative level, if not a venue for the escalation of the scenes as well would be "point" was. Sure, the compressed enormously text of "Howl" has, in spite of the great game from James Franco, considerable potential for transfer to the cinema format. Friedman and Epstein put their work always in such a way that the general public have access. This accessibility to the text are the animated sequences quite sure. Dramatically, this seems at times clumsy and irritating. Since also helps Carter Burwell's excellent score further.
- to recreate the syntax and measure of poor human
prose and stand before you speechless and intel-
intelligently and shaking with shame, rejected yet con-fessing out the soul to conform to the rhythm
highly enriched Atmospheric, an all Enshrouding wafts down the legendary aura of the screen . This work lives in a yearning, longing for a cuddle in the cradle of the total revision of society. The Beat Generation is announcing the first harbinger of an even greater upheaval. A nostalgia for a time before the departure. This film is mired in the bottom of yesterday, in memory, set in the melancholy. He celebrates the aura given off by the remote chance of change. And investigated in this opportunity the deference of Ginsberg and his work. That is at least understandable in this day and age, but negative developments in our societies seem too cemented HOWL -. This film is a nostalgia machine.
James Franco as Allen Ginsberg Ginsberg's poem that has the potential for it is undeniable.
The potential of the film has been given away to the other hand, yesterday. The validity of their film in our time, say Jeffrey Friedman and Robert Epstein, but can not convince them. They have provided a technically perfect plastinate to the movies. But plastinates have the bad habit of life to illustrate only. Otherwise they are just dead
- the madman bum and angel beat in Time, unknown,
yet putting down here what might be left to say
in time come after death,
and rose reincarnate in the ghostly clothes of jazz in the goldhorn shadow of the band and blew the
suffering of America's naked mind for love into
an eli eli lamma lamma sabacthani saxophone
cry that shivered the cities down to the last radio
with the absolute heart of the poem of life butchered
out of their own bodies good to eat a thousand
USA, 2010
HOWL 90 Minuten
Regie & Buch: Rob Epstein, Jeffrey Friedman
Camera:
Edward Lachman
Editor: Jake Pushinsky
Music: Carter Burwell
Starring: James Franco, David Strathairn, Todd Rotondi, Jon Prescott, Jon Hamm, Andrew Rogers
© Footage: Pandora Film Verleih © 2011
text quotes from "Howl" Allen Ginsberg LLC 1956
Unforgettable:
Day of the Sparrow A Single Man
Daniel Schmid - Le Chat Qui Pense
indisputable:
The Love of Children
A prophet
A Serious Man
The Fantastic Mr. Fox
The Social Network
La Danse
Shadow
Mary & Max or: sheep shrink when it rains?
London Nights - Unmade Beds Tank
Lebanon
Still Walking 
Mother
Mother Somewhere
Unspeakable: The Tourist Eat, Pray, Love
water and blood - River washes over me
8th Wonderland 
The concert
The concert Sin Nombre
Blindside - The great opportunity
Alice in Wonderland
House of Boys
do what they say just that: They document - what the camera sees. Reduced to the essentials. There is no voiceover, no information, as well dispense with Wiseman manipulations. The image is at the center, or what this image shows. In the case of Frederick Wiseman's debut 40 years ago, the film Titicut Follies, this was repeatedly breach of a taboo. His style was irritating. The pictures of the handling of inmates at a prison for mentally ill people shocked.
These taboos are not necessarily Wiseman's intention in the traditional sense. He is more of a curious, but accurate observers. What interests him is the man and his behavior, his interaction with others, and its concrete Environment. State Legislature in 2006 his work was shown in cinemas. 217 minutes long, he follows the daily lives of the part-time parliament in Idaho: He watches debates and committee meetings. Look at the personnel of the Parliament to follow, some Members. How does a parliament? What it is: "Parliament"? STATE LEGISLATURE is more here than just a hunch.
The ballet company of the Paris Opera the meetings. Different choreographers we know, as her dancers. Again and again Wiseman's camera with me into the individual samples, will hang for minutes on it. Ballet is hard work for all involved. You can see at first glance. But Wiseman's images go deeper: Ballet is self-sacrifice and devotion in the same moment. People drive themselves and their bodies to the absolute breaking point, with the goal of a fleeting moment of beauty and perfection.
is ballet work in the proletarian sense. The Paris Opera and its ballet company is a business, like many others. Wiseman takes place at the conference table to the director, listening to the conversations: A dancer asking for relief from a majority of plays, a choreographer is trimmed in a certain way. This operation will have to finance themselves, culture is to merchandise. The hard physical work one floor up, is packaged in attractive sponsors for VIP experience packages. Canteen, tailoring, stage. Continuous samples, dress rehearsals. Wiseman's camera repeatedly breaks out in a miraculous way. Addiction apparently refuge from the mania is practiced in this culture operating the craft. Where, on the roof of the Palais Garnier, turns out the view of the city, whose inhabitants work for the people down a level, even forgotten. This creates gems of observation, fleeting moments, at least as beautiful as the carefully assembled sequences of performances.
Myriam Ould-Braham and Jeremie Belingard in "Genus" by Wayne McGregor into the devotion of the people who dwell, can be time. A great book about the human condition.
LA DANSE - LE BALLET DE L'OPERA DE PARIS Frankreich/USA2009 
documentary
158 minutes documentary written & directed by Frederick Wiseman
Camera: John Davey Editor: Frederick Wiseman, Valérie Pico
(c ) Images: Kool Film Distribution
(c) Image: Wikimedia
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Rising Stars, Falling Stars - December 2010 - Vaginal Davis - Felix The Cat
film by advertisersRising Stars, Falling Stars presents "Felix The Cat"
11th 21 December 2010
clock
Kino Arsenal Berlin
blog.vaginaldavis.com  | www.arsenal-berlin.de
| (multicult.fm first interview was in the " |
The blond boy called Frank, he is almost 18 years old and lives in his parents' house - in an affluent area of Luxembourg. Contrast shows us Jean-Claude Frank's home is bad: well, Irvine living room boredom strikes the frontal attack on gay youth room. Clearly explain these settings, not a moment that Frank can stay longer. When his mother still almost caught masturbation, we know that the departure is close to the wide world before. Changing Places Amsterdam  Frank arrives in Amsterdam. Is left after a few brief skirmishes narrative of his best childhood friend in the lurch and ends up homeless, but apparently willing to dance in front of the window of a gay Tanzpuffs "House of Boys". He rings the bell. He opens Jake and lets the scantily-clad (the movie-typical sense flood-like rain) soaked boy inside. Frank's record must be decided by the mistress of the house - "Madame," her name. with "Madame" is a distinguished man in his late 50s, instead of the kimono jacket. Udo Kier plays it again here and provides a study in grim-bored look, as well as much projection . Offer But he is not the worst thing that could happen HOUSE OF BOYS. |
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that AIDS no longer kills and HIV-positive people have approximately the same life expectancy as non-infected people is ignored. The people in complete conformity and control of their therapy, HIV with near certainty not to transfer, Schlim seems to care. The HIV-positive but still go through the social hell if they come out - not schärt Schlimé film drum itself.
Jake & Dr. Marsh Tor. That rejection and discrimination that HIV-positive people today makes life a living hell and the prevention work increasingly cut off the ground under their feet. HOUSE OF BOYS is set in 1984 and there is apparently exactly his director stopped intellectual. Jean-Claude Schliem has perhaps meant well. But it has after 30 years of HIV / AIDS now also not really needed yet.
"I think it is not only important but also necessary to make a film about the AIDS issue - now!" Writes Schlim further in the directors' statement. In view of HOUSE OF BOYS can only say: Please do not! Stop it!
HOUSE OF BOYS 117 minutes Director: Jean-Claude Schlim 
Book: Jean-Claude Schlim, Christian Thiry, Bob Graham Camera: Carl Thiel Music
: Gast Waltzing 
Book: Jean-Claude Schlim, Christian Thiry, Bob Graham Camera: Carl Thiel Music Starring: Layken Anderson (Frank), Benn Northover (Jake) , Udo Kier (Madame), Eleanor David (Emma), Steven Webb (Angelo), Stephen Fry (Dr. Mash)
(c) Images: Film Lights Film Distribution 2010
present Celluloid Against Aids.mp3
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| The 'film highlights "are the weekly movie magazine multicult.fm. Again and again Thursday, the film world is completely changed. The "film highlights" sound so different every week. Whether classical Film criticism, audiophile Essay, Short review or interview. Each program follows their own thread - given by the films of the week, by special film programs and festivals. "Film highlights" - 18.08 Wednesday & Thursday 7 clock clock on mulicult.fm. | come, which are deeply involved in the processing of the events of that time.
Anyway, the film seems ready to put Valerie Plame and Joseph Wilson, a monument. The fact that the biographies of Plame and Wilson are the basic writer, speaks for itself. had given the Courage the couple probably did, that's an honorable task of the filmmakers. One can accuse them of this proximity. But that would fall short. FAIR GAME makes clear that above all can not stop Valerie from now on an equal with her life as an agent. It is at odds significantly and tried hiding what marriage brings the two in acute distress.
It is not only, but also the merit of this film that he is in the subtext, the demand for a general work-up and compensation. Reparation for the crimes of the U.S. administration's shameless Bush Jr. This chapter, so for Hollywood, yet far from complete. In view of a looming disaster in Afghanistan, we should Europeans might be very interested to know what this movie actually heard what FAIR GAME.  FAIR GAME |
| Director & Camera: Doug Liman | book: Jez Butterworth, John Henry Butterworth
Starring: Sean Penn, Naomi Watts, Sam Shepard, Noah Emmerich, Michael Kelly, Bruce McGill, Ty Burrell
(published Revised manuscript text first as a radio contribution in the "film highlights" from 11.24.2010)
(c) Images: Tobis Film Distribution 2010
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