\nCasa Roshell<\/p>\n
Mexico\/Chile 2017
\n71′
\nDirector: Camila Jos\u00e9 Donoso<\/p>\n
You\u2019d never know this is your home away from home. The surveillance camera outside shows a drab reception area and an unremarkable street in Mexico City; inside, the lights flash, but the tables are empty. Yet preparations are soon underway and fixed categories cease to apply: stubble is removed, make-up applied and strands of hair are teased into place; the camera is trained not on the men themselves, but what they see in the mirror. There\u2019s time for a lesson before the festivities get going, to practise walking, consider the letters of the alphabet, think about what sort of girl to be. Music plays, drinks are served and the last boundaries are suspended: those between man and woman, gay, straight and bi, past and present, reality and fiction. The people chatting at the tables or waiting before the darkroom are shot to resemble characters from a film, impossibly glamourous, which doesn\u2019t mean their stories aren\u2019t true. Whenever film stock replaces the digital images, it\u2019s like a symbol for the memories Casa Roshell contains, the spectres of all those who came here and no longer felt alone. No matter how small the utopia, the world outside can still catch up.<\/p>\n
10.02. \/ 20:00 Kino Arsenal 1<\/span><\/p>\n Casting<\/span><\/span><\/strong> Germany 2017 For her first television film \u2013 a remake of Fassbinder\u2019s Die bitteren Tr\u00e4nen der Petra von Kant \u2013 director Vera wants the perfect cast. But the first day of shooting is fast approaching and the numerous casting sessions have yet to find a suitable actress to play the leading role. Although the producer and crew are getting ever more exasperated with Vera, Gerwin is happy about the extra work, as he earns his money as an audition reader, delivering the lines of dialogue to the starry candidates at the various castings. When the male lead suddenly has to back out, Gerwin thinks that this might just be his chance. Director Nicolas Wackerbarth captures the complex essence of Fassbinder\u2019s film and simultaneously creates a profound work of his own. Casting takes an unflinching look at the murky depths of human relationships driven by power, passion and desperation. Yet Wackerbarth also brings bitter truths to light about power relations and dependencies in the German television industry almost in passing. Casting is both intelligent and entertaining, marked by exciting turning points, humour and the breathtaking acting performances by a truly virtuoso ensemble.<\/p>\n 11.02. \/ 19:00 Delphi Filmpalast<\/span><\/p>\n Chavela<\/strong><\/span><\/span> USA 2017 Singer Chavela Vargas gained a name for herself firstly in Mexico and later worldwide chiefly for her interpretation of traditional rancheras. These songs were mainly composed by men and mostly speak of unfulfilled love for women, world-weariness and loneliness. Chavela performed them with her own unique feeling for rhythm and her distinctively rough and yet vulnerable voice. Her masculine appearance and red poncho made her unmistakable. In Acapulco, which in the 1960s was the playground for the rich and famous in the world of politics and culture, she rubbed shoulders with many celebrities, turning the heads of Frida Kahlo and Lana Turner with her charm and striking beauty. After a 13-year break from performing brought on as a result of her addiction to alcohol she was rediscovered in the 1990s and enjoyed a glorious comeback as the muse of artists and directors such as Pedro Almod\u00f3var. The unpublished material in this film, as well as the interviews with Chavela herself and her contemporaries, colleagues and partners have resulted in an affectionate portrait of a charismatic and exceptional artist – who was openly lesbian throughout her life until her death in 2012 at the age of 93.<\/p>\n 11.02. \/ 14:30 CineStar 7<\/span><\/p>\n Como Nossos Pais<\/strong><\/span> Brazil 2017 Rosa is in her late thirties. Her parents are divorced. She lives with her own family in an apartment in central S\u00e3o Paulo. Her husband is often away on research trips that are not particularly lucrative, so it\u2019s up to her to support and care for their two daughters. Instead of concentrating on her calling as a playwright she is obliged to earn a living writing advertising copy for a bathroom ceramics company. Coping with sexual conflicts in her relationship, dealing with problems with her various commissions, but also being obliged to tend to her fragile father\u2019s needy artistic personality all present an increasing challenge to Rosa. When Rosa\u2019s mother makes a surprising disclosure to her one day, Rosa decides to break out of her usual obligations. In so doing she discovers that life holds many surprises in store for her. La\u00eds Bodanzky\u2019s impressively naturalistic film portrays the lives of three generations living in Brazil\u2019s largest city. These are lives caught between individual passions and living the lie. At the heart of the film is the portrait of a woman engulfed by the permanent demands that are placed upon her who decides to find out who she really is.<\/p>\n 11.02. \/ 19:30 International<\/span><\/p>\n Discreet<\/strong><\/span><\/span> USA 2017 Bacon sizzling in fat, a young woman thanking the subscribers of her YouTube channel, a corpse neatly wrapped up in black garbage bags and floating down a river \u2013 as clear as the first few images of Travis Mathews\u2019 mystery thriller may be, the connections only become clearer gradually, as if they were emerging from the subconscious. This elliptically edited story, which revolves around a man who can no longer be described as young, is accompanied by an eerie soundscape. Filmmaker Alex lives in a van. He sets up his camera in rural areas in the US and in the no-man\u2019s land near highways. During a visit to his alcoholic mother one day she shares with him a well-kept secret. There is also a small boy, with whom Alex develops an unexpectedly close relationship. Director Mathews chronicles a modern day gay existence in the West \u2013 from anonymous sex to heterosexual porn in a sex bar cabin, or as a service in a motel room. A small house and a life on the margins of society. Meanwhile, on the radio, we are treated to a steady stream of rightwing slogans against everything that is not white and heterosexual, here in Texas.<\/p>\n 11.02. \/ 22:30 CinemaxX 7<\/span><\/p>\n Dream Boat<\/strong><\/span><\/span> Germany 2017 One week on a cruise ship, with parties, fun and new friendships. The all-gay clientele on board discuss topics such as identity, the body beautiful and the search for sex. Every evening is dedicated to a new theme, challenging the passengers to ever more extravagant, body-hugging outfits. In the cabins however, the talk is more than skin deep as the men open up about their private lives. Marek, a young Polish man just wants to be accepted and loved as a human being and not just because of his taut body. Dipankar from India has just recently come out; he and Palestinian Ramzi are revelling in the kind of freedom they can only dream about in their homophobic societies back home. Martin is HIV positive and ponders hedonistic ways, while Philippe from France observes the proceedings on board serenely from his wheelchair. In his feature film debut director Ferland Milewski succeeds in providing a look behind the scenes of an ostensibly superficial world. His humorous approach helps him create a genuine bond with the protagonists who talk openly about gay desires, free love and good old-fashioned monogamy. 11.02. \/ 14:45 Colosseum 1<\/span><\/p>\n EMO the Musical<\/strong><\/span><\/span> Australia 2016 \u2018How do we know you\u00b4re for real?\u2019 \u00b7 \u2018I tried to hang myself at my last school and they expelled me.\u2019 \u00b7 \u2018Welcome to the band.\u2019 After receiving a Special Mention for Best Short Film from the Generation Youth Jury in 2014, this love story full of irony and exhilaration has now been given the feature-film treatment. Ethan, a sensitive and depressed Emo boy with suicidal tendencies, plays hard doom and gloom rock with the likeminded, in a band where good moods are strictly taboo. Ever chipper classmate Trinity for her part prefers to use her sweet voice to sing praises to the Lord in her Christian youth group. Trinity and Ethan, nobody will ever understand this unlikely match, let alone accept it! And yet that’s exactly what came to pass when their two paths crossed for the first time. The impossible bond they share sets a number of events in motion at their crazy little school.<\/p>\n 11.02. \/ 17:00 HKW<\/span><\/p>\n God’s Own Country<\/strong><\/span><\/span> Great Britain 2017 Young Johnny is running his ailing father\u2019s farm in Yorkshire, England. The communication between father and son reflects their adverse living and working conditions, the father\u2019s utterances mostly being restricted to terse criticism of his son. Johnny\u2019s grandmother plays her part stoically. A frustrated Johnny endures his strenuous daily routine. In a bid to escape the harsh daily grind, he has nostrings sex with men, or gets drunk at the local pub. In the spring, a farm hand is taken on for the season. Romanian Gheorghe is the same age as Johnny, who at first eyes him with suspicion. The initial tension between the two men soon gives way to an intense relationship. This opens up completely new prospects but also presents new challenges for Johnny. In his feature-length debut, Francis Lee finds authentic images to depict farm life as one of privation. His film concentrates on the looks and gestures of his characters and their physical proximity. The archaic landscape of \u2018God\u2019s own country\u2019 as the locals call their county, perfectly reflects the turmoil going on inside the protagonists.<\/p>\n 11.02. \/ 14:30 Cubix 9<\/span><\/p>\n Kometen<\/span><\/span><\/strong> Sweden 2016 The sea. High waves. Dark water. A border fence, two men in hiding. Their flight begins. Only one of them will reach Sweden. One of the men is played by Abdi Aziis, who himself has fled from Somalia to Sweden in order to escape the oppression and persecution of gay men. \u201cHe is our comet\u201d explains director Victor Lindgren, who, in merely a few selected situations, manages to convey the exertions, the deep abyss, the arrival and the loneliness of those who flee. Both men lay alongside each other on a bench, one arm extended across the other\u2019s belly \u2013 an image that symbolizes their intimacy, their shared experience. And in the next moment it\u2019s all gone. Forever. How can life go on? Victor Lindgren\u2019s film Ta av mig was conferred with a TEDDY Award for Best Short Film at the 2013 Berlinale.<\/p>\n 11.02. \/ 16:00 CinemaxX 5<\/span><\/p>\n Mein wunderbares West-Berlin <\/span><\/strong><\/span> Germany 2017 In West Berlin in the 1960s it was possible to find bars where men could be left to themselves \u2013 a fact that was to turn the city into a magnet for young gay men. The protagonists of this film, all still active members of the community today, recall those early years in the city. Theirs are memories of a community that fought steadily for its existence and for change, right up to the fall of the Wall. Faced with considerable social repression in the 1970s, a collective gay identity began to emerge, and the \u2018West Berlin homosexual campaign\u2019 called for the abolition of paragraph 175 and the overthrow of patriarchy. Ruined buildings become the venues for new ways of living together such as all-male communes or the \u2018queer house\u2019. Cottaging, East-West affairs, leather bars, drag performances in the subway \u2013 an anarchic kind of joy outshines past suffering. A decade later, AIDS was to hit Berlin. After Out in Ost-Berlin (Out In East Berlin) Jochen Hick explores queer lifestyles in the West of the city and the roots of a fascination that the metropolis still holds as a refuge \u2013 and not just for gay men. A fascinating journey through time featuring previously unpublished archive material.<\/p>\n 11.02. \/ 17:00 International<\/span><\/p>\n Min Homosyster<\/span><\/span><\/strong> Sweden\/Norway 2017 Ten-year-old Cleo has a head full of questions: How can I tell if I’m in love with somebody? How do I know if I prefer boys or girls? Since her older sister began dating another girl, there are new, strange feelings stirring inside Cleo. During a trip to the Norwegian fjords, she broaches the subject with the young couple and is given some helpful advice.<\/p>\n 11.02. \/ 16:30 CinemaxX 3<\/span><\/p>\n Pieles<\/span><\/span><\/strong> Spain 2017 Samantha, Guille, Ana and Cristian all have something in common \u2013 and yet they couldn\u2019t be more diverse. Their bodies are different to those of other people; be it the mouth, the left side of the face, the texture of the skin or the feeling that your legs don\u2019t belong to your body. They all live and love hidden away in strangely artificial interiors. As \u2018freaks\u2019, they rarely go out onto the street. A confrontation with the rest of the world could have fatal consequences. Director Eduardo Casanova\u2019s strictly symmetrical, pink and purple world is populated by \u2018deformed\u2019 people that include the fat, the small, and a woman born without eyes who works as a sex worker. Spanish director Casanova\u2019s episodic feature-length debut is an extension of his previous shorts. Making use of deliberately artificial images he explores the lives of those who, living on the margins of society, are rarely granted places in which they feel secure. However, their situation is not as hopeless as it at first seems, and beauty is a term that is redefined at least once during the course of the film.<\/p>\n 11.02. \/ 21:30 Zoo Palast 1<\/span><\/p>\n Ri Chang Dui Hua<\/span><\/span><\/strong> Taiwan 2016 Anu is a tomboy. Although she was married off at a young age \u2013 as was customary in Taiwan in the 1970s \u2013 and had two children, she quickly divorced her violent husband and brought up her daughters alone. Since then her only relationships have been with women who, like her, earn a living as professional mourners at funerals. One of her daughters is filmmaker Hui-chen Huang. It\u2019s considered taboo in Chinese culture to question a mother\u2019s unconditional love, and yet this taboo is exactly the topic of Huang\u2019s intimate portrait. Mother and daughter set off on a journey together into the past during which Anu is confronted by questions that have tormented her daughter for years. In a series of long shots the two women discuss such topics as trust, abuse and cognisance, and yet most of these discussions end in painful silence. Shifting focus in order to plumb the depths of the topic, the director attempts to understand her mother by also talking to her mother\u2019s siblings and ex-lovers. In doing so she paints a picture of changing living conditions for three generations of women in Taiwan.<\/p>\n 11.02. \/ 17:30 Cubix 7<\/p>\n Ulrike\u2018s Brain<\/span><\/span><\/strong> Germany\/Canada 2017 Referencing sixties B-movies like They Saved Hitler\u2019s Brain and The Brain That Would Not Die, Ulrike\u2019s Brain finds Doctor Julia Feifer (Susanne Sachsse) arriving at an academic conference with an organ box. Inside the box: the brain of Ulrike Meinhof, which was saved by the authorities along with the brains of the three other leaders of the RAF after their deaths in Stammheim prison. Doctor Feifer can communicate telepathically with Ulrike\u2019s brain, which is directing her to lead a new feminist revolution. To that end, she is searching for the ideal female body to transplant Ulrike\u2019s Brain into. At the same time, her arch-rival, Detlev Schlesinger, an extreme right-wing ideologue, arrives at the conference with the ashes of Michael K\u00fchnen, the former German neo-Nazi leader and infamous homosexual who died of AIDS in 1989. When the two Frankenstein\u2019s monsters of the extreme left and the extreme right meet, chaos ensues.<\/p>\n 11.02. \/ 19:00 Akademie der K\u00fcnste<\/span><\/p>\n Wilde Maus<\/span><\/span><\/strong> Austria 2017 Georg feels confident and at ease in his position as a member of a Viennese newspaper\u2019s editorial staff. He is both loved and feared \u2013 as befits an established music critic who wields a sharp pen. But then he is suddenly made redundant. A cost-cutting measure, he is told \u2013 before being shown the door. But instead of telling his young wife Johanna, whose thoughts currently revolve around her desire for children and her next ovulation, Georg is out for revenge. He finds an ally in giving vent to his anger at his ex-boss in the shape of an old school friend, Erich. What begins with minor property damage soon turns into a campaign of all out terror. At the same time, Georg and Erich have a go at trying to revive a dilapidated rollercoaster in Vienna\u2019s Prater amusement park \u2013 the legendary \u2018wild mouse\u2019. In his directorial debut, cabaret artist and actor Josef Hader tells a funny, dramatic story about the Austrian middle-classes\u2019 private fears of failure and social decline. A witty and ironic film that reflects on how a bourgeois life can go awry \u2013 and then perhaps manages to get back on an even keel after all.<\/p>\n 11.02. \/ 22:00 Berlinale Palast<\/span><\/p>\n The Wound<\/span><\/span><\/strong> South Africa\/Germany\/Netherlands\/France 2016 Eastern Cape, South Africa. A lonely factory worker, Xolani, takes time off his job to assist during an annual Xhosa circumcision initiation into manhood. In a remote mountain camp that is off limits to women, young men, painted in white ochre, recuperate as they learn the masculine codes of their culture. In this environment of machismo and aggression, Xolani cares for a defiant initiate from Johannesburg, Kwanda, who quickly learns Xolani’s best kept secret, that he is in love with another man. Having first explored male circumcision in his short film IBHOKHWE, South African director John Trengove revisits this topic and other rituals of masculinity in his first feature. The tension that builds inexorably throughout the film derives on the one hand from the young Kwanda who increasingly calls into question the patriarchal codes of the initiation, as well as the unbearable crisis building in Xolani as he must choose between the traditional world that he knows, and his own fulfillment.<\/p>\n 11.02. \/ 20:00 HAU Hebbel am Ufer (HAU1)<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Emos! Who doesn\u00b4t love them? This wonderful invention from the early 2000s. Coming-of-age movies, who is not absolutely addicted to them? Okay..well then I have something for you: “Emo – The Musical”!. With a lot of singing and a lot of humor this story tells us about an outsider on a high school and an … Continue reading Day 3: The EMOS are back!<\/span> ![\"OK_201718999_1\"](\"http:\/\/blog.teddyaward.tv\/wp-content\/uploads\/2017\/01\/OK_201718999_1.jpg\")
<\/a><\/p>\n
\n
\nCasting<\/p>\n
\n91′,
\nDirector: Nicolas Wackerbarth<\/p>\n<\/a><\/p>\n
\n
\nChavela<\/p>\n
\n90′,
\nDirector: Catherine Gund, Daresha KyiHaupts\u00e4chlich<\/p>\n<\/a><\/p>\n
\n
\nJust Like Our Parents<\/p>\n
\n102′,
\nDirector: La\u00eds Bodanzky<\/p>\n<\/a><\/p>\n
\n
\nDiscreet<\/p>\n
\n81′
\nDirector: Travis Mathews<\/p>\n<\/a><\/p>\n
\n
\nDream Boat<\/p>\n
\n92′
\nDirector: Tristan Ferland Milewski<\/p>\n<\/a><\/p>\n
\n
\nEMO the Musical<\/p>\n
\n94′
\nDirector: Neil Triffett<\/p>\n<\/a><\/p>\n
\n
\nGod’s Own Country<\/p>\n
\n104′
\nDirector: Francis Lee<\/p>\n<\/a><\/p>\n
\n
\nThe Comet<\/p>\n
\n11′
\nDirector: Victor Lindgren
\nCast: Abdi Aziis<\/p>\n<\/a><\/p>\n
\n
\nMy Wonderful West Berlin<\/p>\n
\n97
\nDirector: Jochen Hick
\nCast: Romy Haag, Maximilian Lenz, Ades Zabel<\/p>\n<\/a><\/p>\n
\n
\nMy Gay Sister<\/p>\n
\n15′
\nDirector: Lia Hietala
\nCast: Juliette Safavi, Tina Pourdavoy, Erika A. Coleman<\/p>\n<\/a><\/p>\n
\n
\nSkins<\/p>\n
\n77′
\nDirector: Eduardo Casanova
\nCast: Ana Polvorosa, Candela Pe\u00f1a, Carmen Machi, Macarena G\u00f3mez<\/p>\n<\/a><\/p>\n
\n
\nSmall Talk<\/p>\n
\n88′
\nDirector: Hui-chen Huang<\/p>\n<\/a><\/p>\n
\n
\nUlrike\u2018s Brain<\/p>\n
\n55′
\nDirector: Bruce LaBruce
\nCast: Gertrude Stammheim, Susanne Sachsse, Jonathan Johnson, Saskia Timm<\/p>\n<\/a><\/p>\n
\n
\nWild Mouse<\/p>\n
\n103′
\nDirector: Josef Hader
\nCast: Josef Hader, Pia Hierzegger, Georg Friedrich, J\u00f6rg Hartmann<\/p>\n<\/a><\/p>\n
\n
\nThe Wound<\/p>\n
\n88′
\nDirector: John Trengove
\nCast: Nakhane Tour\u00e9, Bongile Mantsai, Niza Jay Ncoyini<\/p>\n<\/a><\/p>\n