Stefan Kolosko

Contemporary cinema’s preeminent chronicler of architecture and its intersection with the ever-present crisis of 20th-century modernity, Heinz Emigholz returns with an alternately mournful and sly treatise on how the presence—and, in some cases, absence—of municipal and communal building architecture is inseparable from capitalist ideology. Focusing mainly on cities and provinces in Argentina, Germany, and Bolivia, Emigholz’s latest film is a work of quiet observation and historical excavation. From slaughterhouses in Salamone to the flooded former spa city of Epecuén to the newly built Humboldt Forum in Berlin, the film demonstrates the effect of capital on public spaces, where creation and destruction go hand in hand, and as always, Emigholz makes the journey one of intellectual force and cinematic beauty.

Using unpublished and newly digitalised archive footage and film material, Bettina Böhler has brilliantly assembled this film about the life and work of the exceptional artist Christoph Schlingensief, who died in 2010.

第2次大戦末期。ドイツ軍から脱走したヘロルトは偶然ナチス将校の軍服を発見。軍服を着た彼は、勘違いした兵士に将校として扱われ…。＜原題の"Hauptmann"はドイツ語で「大尉」。 第二次世界大戦末期、偶然の成り行きと言葉巧みなウソによって将校の威光を手に入れた脱走兵の若者が怪物的な独裁者に変貌していく様を描く。1945年にヴィリー・ヘロルトが引き起こした実際の事件をベースにしている。＞

A small German village in the south of Brandenburg is preparing for a traditional youth ceremony. Children become adults, which is a cause worth celebrating. The young Kai lives with his father on a farm. They have invited guests for the festive meal planned for the following day. Everything has been arranged and the calf is ready for slaughter. But Kai's father does not want to slaughter or celebrate, he wants his peace. Driven by the fear that everything could go wrong, Kai races through the sleepy village. The afternoon leads him to Lea, a local girl. With her, time takes on a different pace. KAI captures a formative moment in life, where a boy tries to find a way out. From a village, from a family situation and from his own anxieties.

In 1988, the East Berlin homicide squad again and again encounters crimes that - according to the opinion of party leadership and state security - do not exist in socialism.

第2次大戦末期のヨーロッパ。ナチスドイツはヒトラーの命を受け、侵攻した各国にある彫刻や歴史的名画を略奪していた。このことに危機感を募らせたハーバード大学付属美術館の館長ストークスは、大統領のルーズベルトにナチスドイツに奪われた美術品の奪還作戦を認めさせる。そして、芸術のエキスパート7人で特殊部隊“モニュメンツ・メン”を結成。貴重な美術品の行方を追うため、彼らはヨーロッパ各地の前線へ向かう。

The 13 days from April 20th to May 2nd, 1945, are unique in the history of Germany: They are the final act in the history of the third Reich which was supposed to last for a thousand years and succumbed after twelve in an orgy of violence and fire. In the catacombs of his bunker under the Reich Chancellery in the capital city of Berlin, which Adolf Hitler wanted to make to the centre of the world, the dictator operates with ghost divisions during the final days of the war. Only in the final moment, he takes his own life. Meanwhile, On the streets, in the ruins, and the basements of the destroyed city, the final battle wages on: Adolescents are sacrificed without purpose, women get raped, loyal party comrades commit suicide in the thousands, Jews who were in hiding for years hope for the liberation.

The same situation is played out in different cities (New York, Berlin and Tokyo). A lover has to choose whether to commit to a partner who is returning home. In each case there are other people involved, an ex-partner and someone else in a "permanent" relationship, what do they choose to do?

In East Berlin in the late 70s, two boys meet one evening in a disco: Thomas, who is from a working class family and is doing an apprenticeship, and Michael, a 16-year-old school pupil from an educated middle-class family. They both miss the tram home and walk together instead, ending up at Michael’s house where they discuss God and the world into the early hours. Following this encounter the two boys enter into an unusual friendship, united by their mutual desire to get away from the phoniness, the limitations and the restrictions of their parents and of society.