FREE ON YOUTUBE Nick Cave - 20.000 Days On Earth

Wednesday at our film art bar Fitzcarraldo 80s & New Wave Sound and with it the early Nick Cave. Now you can even rent it on DVD and Cave for a day! Assuming a conventional documentary about the world's most popular living pop musician, Nick Cave, would be unsatisfactory, the creators of 20,000 Days on Earth made their main character accompany him for a fictional day of his life. Since co-directors Iain Forsyth and Jane Pollard had already produced music videos for Cave & The Bad Seeds, they knew that the artist should not be underestimated. In his music he joyfully celebrates and deconstructs his public figure: as a brutalo, a coward, an agnostic and even a wannabe god. 20,000 Days on Earth is not a biography, but Work-In-Progress. Forsyth and Pollard had enough tasks ready for Cave and cleverly get him to act. In the best scene of the movie Nick Cave records the vocals for his Higgs-Boson Blues (for me the most exciting song of Push the Sky Away, the last album of Bad Seeds). In real time we see Cave languish in extreme close-up. And he only plays this song for Forsyth and Pollard before an audience even hears it! Isn't that impressive?(...)

FREE ON VIMEO John Carpenter Big Trouble In Little China

Is there a remake of the original with Dwayne_Johnson? What is more, a sequel has been announced. Well, we purists stick with the'86 original. That sounded like a good idea: John Carpenter's Big Budget production, which unites all Kung Fu, martial arts and other Far East clichés, assuming that Chinatown is only the tip of the iceberg. Among them are catacombs of an underworld over which a 2000 year old bad dream reigns. As described; that sounds promising and Carpenter's fantasy spectacle gives us hope for the first 30 minutes. His film takes up a lot of pacing, offers extravagant visual gimmicks under the banner of the 80s and, moreover, Carpenter fills a plump pack of popcorn with Chinese black magic. Everything looks exotic and pleasantly light-footed! After a while, however, the film recycles itself and more than once you think you have already seen this scene. Someone's always slipping off somewhere and at the end everyone flies through the air. John Carpenter's early films know that special effects aren't everything - but Big Trouble In Little China seems to have forgotten exactly that. Kurt Russell plays Jack Burton, an adventurer who always has a loose spell on his lips. His friend's name is Wang Chi (Dennis Dun) and his girlfriend is kidnapped by bandits into the underworld of Chinatown. The rest is basically a single chase in which Burton and Wang Chi pull two women out of the clutches of a ghostly karate master. To be saved, he must marry a green-eyed woman. Kurt Russell is supposed to look like a classic Hollywood hero - but even they don't always do the right thing at the right time. Otherwise it would only be quite exciting - like Big Trouble In Little China. Carpenter, who was allowed to spend a lot of money for the first time, uses it for effects. His characters are just stopgaps. The film is especially interesting from Hollywood's point of view on the Chinese. As stereotypical as a real satire, Carpenter looks at a foreign world in which almost everything exists. At least you can't blame him for chumming up to the taste of Arthaus.

FREE ON DAILYMOTION Abbas Kiarostami - Through The Olive Trees

Abbas Kiarostami's third film is about filmmaking and also plays with the possibilities of film itself: Somewhere between fiction and documentary. It's part of an unofficial trilogy set in Koker. The topic: The intellectuals of Iran. An actor gives the director (why not Kiarostami himself?) on the set of a fictional film. Kiarostami staged in the style of the early neo-realists and yet one still thinks more than once that here just before our eyes the cinema is once again being invented. Sure, Kiarostami stages on the streets with non-actresses and integrates real elements of action - but his style is also enormously complex and offers a complex superposition of actor and role as well as story and storyteller. Even the screening and the audience are in a strange relationship in this film, which questions everything: the difference between film and reality. Kiarostami condenses all this in a simple parabolic story with just as simple characters that seem almost a bit boring. For those who simply want to follow the plot, this may be disturbing, as it is difficult to follow and feel with Kiarostami's characters. But those who expect a piece of cinema aesthetics and are familiar with Persian film are exactly right in Kiarostami's work!

FREE ON DAILYMOTION The Neverending Story

No movie ran better than The Neverending Story in our NOMADENKINO! Who would have thought it? Sure, our NOMADENKINO was founded to show experimental films that go down in the cinema with a portable 35mm projector. But not only! Our NOMADENKINO is something like a walking event. A cinema that appears in different venues like the Holzmarkt, About Blank or Klunkerkranich to show films there. And sometimes you just want a little nostalgia. When I saw The Neverending Story again after almost 30 years, I mainly noticed how great the film has aged. Were children's films ever so nihilistic before? The kingdom of fantasies is in great danger. But the enemy is neither an evil sorcerer nor any other tangible danger. The enemy is nothing. It spreads and threatens to wipe out fantasies. With nothing. Only the imagination of a little boy named Bastian (Barret Oliver) stands between the kingdom of fantasies and nothing. Bastian discovers fantasies in an old bookstore. There you don't meet him very friendly, but Bastian manages to steal the book of infinite history. A dangerous book - and suddenly Bastian realizes while reading that the characters in the never-ending story know HIM, Bastian. The story has come true! How is that possible? That's the first question Bastian asks himself. A truly modern and skeptical boy! But what should Bastian do? He opens the next page and it is the childlike empress (Tami Stronach) herself who asks him to give her a name to prevent fantasies from going down. For me, that was always the best thing about Michael Ende's Infinite Story: The idea of a story IN history. The other great idea is that a child's imagination is enough to stop the passage of fate. Faith in the imagination of the children that saves us all! There's a lot we believe in in The Never Ending Story. Much we GERNE believe, because this Bavaria production doesn't look like another Star Wars copy! Here a new world is really emerging before our eyes and today - after almost 30 years - it seems all the more romantic! The creatures of this world are dolls and I like them much better than today's animation techniques - precisely because they seem so beautifully unreal! Puppets are just as three-dimensional as the human characters in the film and that's what makes it look right again! Within the world of fantasies we meet the brave hero Atreyu (Noah Hathaway), who paves a way to the glass tower of the childlike empress. He must sneak past the Amazons up to the tower. Atreyu's story alone would have filled every other fantasy film, but not The Neverending Story. Michael Ende's novel is about the unfolding of this story and that's why we see Bastian turning the pages again and again, breathlessly. He, who was tormented by his classmates on his way to school, is now allowed to take part in Atreyu's adventures. The Never Ending Story is not a story that just happens. Bastian (and we) learn that every story is a never-ending act of fantasy! A never-ending act of storytelling! That's why we love the endless story so much that hardly any other performance of our open air nomadic cinema was allowed to welcome so many spectators! -

FREE ON YOUTUBE Miete Essen Seele Auf - Kotti & Co

(YOU FIND THE WHOLE FILM FREE ON YOUTUBE) During the documentary Week in Sputnik and fsk- The documentary will probably not be released on DVD. - It was one night in 2012 when some people living in social housing around the Kottbusser Tor built a hut called Gecekondu (set up at night). This is the name of informal Turkish settlements. Here, the neighbours met to develop a new direction. A focal point of debates on gentrification and repression, but also on migration and racism. Frustrated contemporaries would now claim that this is no use at all. They ignore a simple fact: even in the now legendary 90s, when Kreuzberg actually stood on the sidelines, the topic of "gentrification" existed. If you don't believe that, rent the Kreuzberg movie Trouble (1993) (DVD5091) or stream it free on YouTube (https://www.youtube.com/watch?v=bs7Jt_V9SqU&t=24s). Conversely, this means that the subject of repression already existed after the fall of communism, can't all have been repressed, can it? Someone must have stopped them! That's enough: Resistance does make sense! But it has to be added; in the early 00s, friends of mine rented studios directly at the Kotti (on top of the Cafe Kottis level) for ONE euro per square meter. Thus it was tried to make a rotten neighborhood accessible again. Today that would be unthinkable. Anyone who wants to stand up for the issue at the moment helps our neighbours from the mutiny. They have to leave in a year and then we would have one less institution in Reichenberg: The "autonomous" pub! So: Just go there at four on Mondays and do something about it.

FREE ON YOUTUBE Satyajit Ray - Mahanagar

(YOU FIND THE WHOLE FILM WITH ENGLISH subtitles FREE ON YOUTUBE) Mahanagar is highly recommended as one of the greatest cinematic experiments of its time! This is due to the narrative talent of Satyarjit Ray and the beauty of his leading actress Madhabi Mukherjee, who plays with a depth that takes my breath away! She embodies Arati, a young housewife and mother. Her husband's salary isn't enough to live, so Arati has to find a job. Her parents are horrified; no woman should work! However: times have changed. For the first time she comes into contact with other people and social classes. Finally Arati begins to put on make-up. Full of humour Ray now describes how the old father declares the "cold war" to his son-in-law and also the husband must maintain respect for himself in view of his wife's new position. It's remarkable that Ray really cares about this simple family and their problems. Sure, his film is set in India, apparently far away from us. But is that really so? Don't the same problems exist here? Ray's films are "foreign" and yet again not! Every character might as well be living around the corner. Perhaps stupid German comedies with silly starlets are much stranger to us than this 1963 film?

FREE ON YOUTUBE Shohei Imamura - The Insect Woman

(YOU FIND THE WHOLE FILM WITH ENGLISH subtitles FREE ON YOUTUBE) Shôhei Imamura takes up universal themes such as the instinct for self-preservation and sex. Occasionally it seems as if he tells his story a little incoherently, even confusedly. But although we are dealing here with a Japanese film from 1963, we understand the characters. They may be exotic, but there is no doubt: the characters Imamura shows are real! The focus is on Tome Matsuki (Sachiko Hidari). She belongs to the poor "primitive" class. Tome Matsuki decides instinctively, without a sense for the categories "right" vs. "wrong". The whole life of a woman is processed before us, beginning during the 20's, through the turmoil of war up to the present of the film. She prostitutes herself, gives birth to a child, never marries. It is thought that everything is subordinated to the will to succeed. Finally, she takes the position of a lady in Tokyo as the lover of a businessman. But where is happiness? Where can she find something like satisfaction? Is it not in the home of her village, along with the daughter and her future son-in-law? Sachiko Hidari plays her role simply and simply - and that is exactly what makes her appeal! We understand this simple soul who pretends to live a peaceful life. Perhaps it is the biggest theme of Japanese cinema: The conflict between tradition and modernity. (You can find the movie on youtube)