Of course, you can't describe a film that isn't finished yet. However, the shooting can be sketched very well. We are guided by two women who have everything in their hands: Direction, production, camera. The sound is recorded by Garip Özdem. Now he died under tragic circumstances and so I write these lines. I cannot deal with death. I wanted to organize a concert series with Garip, we planned to clean out my parents' house and and and and... Sometimes I start crying. It just needs the wrong keyword. That's why our film will only get better! The legacy! Garip lived for FILM. Like a big child looking in wonder at the world. His world, his place of longing, that was Kurdistan. Money didn't interest him, what others think of him didn't anyway. But films were important to him! Although he had to get up early in the morning, haul furniture, dissolve apartments, he then came to the shoot. The atmosphere there is relaxed. I think Lea and Kathrin take care of that. Of course everyone always comes too late. Or the protagonists show up on Sunday morning after the after hour. Braindead. Not to be used cinematically. Like my friend Vassilis, who could only see black and white for a while. Vassilis can dance on one leg like Rumpelstiltskin on the counter and stretch out the other leg like a yogini. Unfortunately he doesn't remember it. In front of the camera he answers either "I don't remember" or "I forgot". But luckily not all protagonists appear that way. Nanghiti, Anisa and others can express these little poetic moments of life very well! Moments that happen in our bar + video store. Lea films it all. Material for hours. We have to imagine it as "Smoke" or "Blue In The Face". Regular customers philosophize about the sweet nothing. Or the high rents in Berlin. Or life after death. And Garip? He wasn't in such good hands in his home street, the Reichenberger, after he returned about six months ago. He had the idea of moving to Thessaloniki. There I also got to know him. Maybe he just didn't want to have a permanent residence at all, but wanted to hike! Now he is a living legend. A person who lived only to love! And he gets our film! Cinegeek - oder: Eine berauschende Reise in die unmögliche Rumpelkammer vollkommenen Filmglücks (Arbeitstitel)

FREE ON YOUTUBE Richard Lester - The Bed Sitting Room

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF AUF YOUTUBE) Richard Lester anticipated the British intellectual slapstick humor of the 70s. Quasi invented. Nobody rewarded him for it. The Bed Sitting Room was a catastrophic failure at the box office. A typical film that you can and should rediscover in our video store! Please borrow it to everyone, because if our world hadn't been for the "Monty Pythons", Richard Lester would still have invented it! With The Bed Sitting Room he has made an After The Bomb movie like no other! In a very near future (we would have been extinct by 2019) - England will be destroyed by the nuclear war. Only a few Englishmen survive. They prefer to take the subway. The subway is always running in circles, driven by an extremely serious young man. The rest, who don't ride the subway, stagger over the rubble. Everyone tries to look as chic as possible. For example by wearing a tuxedo. You hardly notice the rags underneath, do you? There's the pregnant girl (Rita Tushingham) who lives with her parents in the subway. Or the gentleman businessman. Or the two policemen (Peter Cook and Dudley Moore) in their destroyed company car hanging from a hot balloon. Sketches of the destruction, which become darker and darker. At first you throw yourself with cake, later you maintain the typical British reserve. The world is broken, but is that a reason to lose your composure? Exactly.

Translated with www.DeepL.com/Translator

In Cinema: Carlos Reygadas - Our Time

Hard to decipher, the movies of Carlos Reygadas. Our Time is set in northern Mexico. Juan (Reygadas himself) and his wife Esther (Natalia López ) live there happily as a nuclear family. Some time ago they already agreed to have an "open" relationship. At a party Esther meets Phil (Phil Burgers). She gives him an open pitch - and Juan encourages Esther. Do "open" relationships work? I think man is not made for it. I tried it, but something came up: Jealousy. An old wisdom is that love is heaven, jealousy is hell. Juan also succumbs to jealousy. But he hadn't expected it at all! Suppressed passion and doubts lead to a downward spiral. Jealousy grows. Juan has to admit to self-doubt. What remains of his self-image now that he lives as a horned husband? Reygadas Our Time is a real rarity. A spiritual drama, a mystery. Obviously, the makers are aware of the mistakes of their human characters and try to get to the bottom of them. Again and again the protagonists try to tap the energy of Tlaxcala, this place in the north of Mexico. A romantic backdrop, but will they prove to be worthy of it? The wide panorama makes us think of things like faith and religion. Things that are not only missing in mainstream cinema. Juan tries to control his surroundings. Almost like a god. But he fails miserably, almost comically. The fatal thing is that we, the audience, feel just as lost and frustrated! Our Time is not just Juan's story. Our Time reflects us as humans how we stubbornly resist accepting our humanity. We are neither the center of the world, nor the center of anyone else! Our Time is not a profane allegory. It is a sad and miraculous reminder that we are mortal.

Translated with www.DeepL.com/Translator

FREE ON YOUTUBE Allein

FREE ON YOUTUBE  People suffering from the so-called Borderline Syndrome put on a rugged outer shell to hide their badly injured being. The great Lavinia Wilson embodies a student suffering from borderline. She tries to break her isolation with various men and yet remains alone. A very exhausting woman who only wants to be a girl. Her name is Maria and we get to know her during sex. Of course she throws out her lover (Richy Müller) the following morning. He already knows this, grabs his things resignedly. Maria is greedy for physicality, but is afraid of closeness. Finally she could be rejected. We learn how difficult her relationship with her father was, that she likes to anaesthetise herself with alcohol plus X. That she carves herself. During the day she works in the library, somewhere in a medium-sized German town. Life there is boring through and through. In the evening at the club, she takes a "guy", drops him, drinks a bottle of vodka. The film gives no explanations. That's wise, because that way we are on our own whether we can make our peace with this Mary. When I set up Alone of Thomas Durchschlag 2005 as a DVD novelty in our video store, which the film for the first time continuously lent. I was surprised! There was neither an exaggerated media hype nor any notable awards. But there was what we call "from mouth to mouth". Word got around in the neighbourhood how great the actress is and so Allein became a blockbuster in the neighbourhood.

FREE ON YOUTUBE Francis Ford Coppola - The Outsiders 

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) If Francis Ford Coppola should be dejected in 1983 after the collapse of his Zoetrope Studios, you don't see it in The Outsiders. The Outsiders doesn't just look like "great cinema", but like "the greatest cinema ever"! Coppola looks back to the 50s to Nebraska, but probably not to his own youth, but to the time of the big Hollywood hams. The Outsiders starts with a banner, the movie title passes us from right to left. The colors seem like a Technicolor experiment on Acid, with Stevie Wonder singing Stay Gold. This seems to be abundantly blown away by the wind(s)... Everything over-stylized, nothing real! The outsiders are a street gang, but romantically transfigured. They're certainly not real kids, but part of Coppola's multi-layered "Storytelling". The movie is based on the well known novel by S. E. Hinton. It's about the class struggle of the rich Popper Gang and the oily Greasers from the lower class. In the car cinema Greaser wants to rip Dallas Winston (Matt Dillon) Cherry (Diane Lane) open while his two younger and insecure friends Johnny Cade and Ponyboy Curtis (Ralph Macchio and C. Thomas Howell) try to appease him. For Cherry, Ponyboy feels the shy feelings of love that one only experiences as a teenager. Outside it comes to an argument with Cherry's rich boyfriend. After Dallas separates from his friends, both don't know where to go. Johnny's father rages at home and Ponyboy lives together with his two older brothers after the death of his parents. He doesn't want to go home either. While both spend the cold night in the park, the poppers approach. It comes to a fight and Johnny stabs a popper in self-defense. Both have to flee and go into hiding. We now experience Johnny and Ponyboy in exile reading Margaret Mitchell together, talking about life and dreaming. Both seem convincing and I remembered the poetry of a friendship like the one you have at fifteen. Unfortunately, what Coppola builds around it is less convincing. In artificial poses Coppola shows the two of them in front of a kitschy sunset and does everything to resurrect the classic Hollywood time. The problem with stylizing his characters in this way is the following: They can hardly breathe and seem to be alive. That's why it's difficult for us to immerse ourselves completely in his film. The material of the novel probably only lasts for a film of 90 minutes and Coppola is forced to kill time. Many scenes seem exactly like that, too! Hardly anything in the movie is so motivated that it seems necessary, almost everything just happens out of arbitrariness. Matt Dillon's Dallas seems to be copied from old 50s rebel movies. Dallas is a victim of postmodernism, in which everything is stolen together. Coppola himself doesn't seem to be interested in his production, but only in the "look" of his film: The perfect light, the most incredible pictures, the perfect pose! His Greasers therefore sometimes seem like excerpts from a painting. In short, there is not too much life in The Outsiders. The film resembles a stylistic experiment. But: I remember how successful the film was when it was later shown again on television. Everyone in the schoolyard talked about it, the Bravo brought folding posters of the outsiders. Once it was because all the 80s stars of the Brat-Pack appeared in the film: Patrick Swayze, Rob Lowe or very briefly Tom Cruise. On the other hand, we weren't used to realistic narration at that time. That came later with the indie cinema of the 90s. In the 80s everything was just a surface shine and a chic cover! Probably the Outsiders came to life in our fantasy! For me the whole film is part of my memories, my personal nostalgia. Today I'm no different than Coppola was when he shot the film...

FREE ON YOUTUBE Let The Right One In

Gothic look serves to set a mark, an understatement. That doesn't hurt. It needs black leather that can be thrown over the chair in the evening and a few tattoos that are pierced with soothing cream. But how would it feel to fall into the clutches of a real vampire? What kind of experience would it be to try yourself out as a bloodsucker? Let The Right One In is a vampire movie, but not one that follows any rules. It's not a vampire movie with garlic and wooden pegs. Vampirism is taken seriously here, extraordinarily seriously! Recently films during the German expressionist silent film seemed to believe so much in the subject! Let The Right One In is the agonizing portrait of the love of two twelve-year-olds. A kind of Coming Of Age story and definitely not for teenagers! In the first scene Oskar (Kare Hedebrant) looks out of his window and sees her. Something wistfully sad lies in his eyes. Oskar feels lonely. His parents have separated and he spends most of his time alone. Then he gets to know the girl he observed from Fesnter: Eli (Lina Leandersson). She is as old as Oskar and just as alone. Oskar has learned that life is no longer a surprise for him, so he usually reacts calmly. So too, when he realizes that Eli is as pale as a corpse. He asks her if she is a vampire. Both spend the night together, although sex is not yet interesting for Oskar. Nevertheless, he asks Eli if she wants to be his girlfriend. She gently touches him and reminds him that she is not a girl. At school Oskar is sadistically tortured by a gang and the following morning he almost drowns in the swimming pool during these "games". In such moments it is advisable to have a vampire as a friend... By the way: At this point I haven't even started to describe Let The Right One In. The horror drama was shot by the Swede Tomas Alfredson after the novel by John Ajvide Lindqvist. Eli lives with a middle-aged man named Hakan (Per Ragnar) who is as scary as he is sad. Is he a relative? Or even a lover? We watch Hakan get dead bodies for Eli. I don't want to go into that any further, nor Oskar's bad parents. All this already seems dark enough. Nevertheless, Let The Right One In offers some humorous moments. When Oskar asks Eli about her age, she has to admit that she's been twelve for countless years. Vampire humoristic! Once you separate all vampire elements from the plot, the story of two lonely and desperate children who commit some disastrous deeds together remains. Their despair has a stronger effect than feelings of guilt or pity. I think we, the audience, care much more about them than they can. Alfredson therefore consistently denies us any light and warm tones. In his film even fresh blood is black. And the title? Remember the vampire rule that you have to ask the vampire in. Only then can he overcome your threshold. If you don't like love stories with teenagers, this is the right film for you! If you don't like vampire movies, that's the same for you!

Film List 80s Indie

The boom of indie cinema began in the '90s. The foundation, however, was laid in the 80s with the founding of the Sundance Film Festival and the decline of the New Hollywood era. The 80s was the wonderful time of the blockbusters, but also of such pearls as Stranger Than Paradise, Mala Noche and She's Gotta Have It. A journey back.