{"id":2230,"date":"2018-02-18T14:40:43","date_gmt":"2018-02-18T12:40:43","guid":{"rendered":"http:\/\/blog.teddyaward.tv\/en\/?p=2230"},"modified":"2018-02-19T10:59:26","modified_gmt":"2018-02-19T08:59:26","slug":"teddy-today-sunday-18th-february","status":"publish","type":"post","link":"https:\/\/blog.teddyaward.tv\/en\/2018\/02\/18\/teddy-today-sunday-18th-february\/","title":{"rendered":"TEDDY TODAY: Sunday 18th February"},"content":{"rendered":"

We’re getting steamy on Sunday with some of our most sensuous TEDDY films this year! From the neon-paint-smeared bodies of ‘Tinta Bruta’, to trans MC, Lynn da Quebrada’s seductive stage performances, through to the wonderfully empowering female-thrusting of the ‘Juck’ dance, today’s selection celebrates sexuality in all its forms. Let loose your animal instinct with this feast of lusty cinema.<\/em><\/p>\n

L\u2019 Animale<\/strong>
\nDirector: Katharina M\u00fcckstein
\nAustria, 2018, 97\u2032, German<\/em><\/p>\n

Screening: 19.00, Zoo Palast 1<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

In Austria the final school exam is known as the \u2018Matura\u2019. Unlike the German word \u2018Abitur\u2019 (from the Latin \u2018abire\u2019 meaning \u2018to walk away\u2019), the Austrian term also includes the notion of coming of age. Mati wants to become a veterinary doctor, like her mother, and therefore leave the confines of her small-town universe for Vienna. But is she ready for this future? Standing in her \u2018Matura\u2019 dress with her long hair scraped back into a tight bun and her neck hair shaved bare, she\u2019d be the first to admit she looks like a clown. Mati loves to spend time with the boys bombing around the quarry on her motocross bike. When one of the girls from her school resists when one of Mati\u2019s mates begins sexually harassing her at a disco, Mati spits in her face. But, just like her parent\u2019s marriage, Mati\u2019s motocross gang also ruptures once notions of friendship, love and sexuality become more pressing. In her second feature-length drama, Katharina Mueckstein uses clear words and images and cool synthesiser beats to tell the story of an inscrutable young woman on the brink of \u2018walking away\u2019. Her parents\u2019 silence tells us that being mature and facing up to the future doesn\u2019t have anything to do with your age.<\/p>\n

Bixa Travesty (Tranny Fag)<\/strong>
\nDirector: Claudia Priscilla, Kiko Goifman
\nBrazil 2018, 75\u2032, Portuguese<\/em><\/p>\n

Screening: 20.00, CineStar 7<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

Linn da Quebrada is a black transwoman from impoverished periurban S\u00e3o Paulo; she is also a pop performer who raises her voice for queers of colour from the favelas. Accompanied by her childhood friend and partner in crime, black transwoman and singer Jup do Bairro, her concerts are nothing short of dazzling. Aided by exorbitant costumes and plenty of twerking, her performances are onslaughts of electro against Brazil\u2019s white heteronormative gender order and the machismo of the country\u2019s funk scene. Private moments reveal her gentler side: as she showers with friends or cooks with her mother the talk turns to love, racism and poverty. Archive footage in the shape of home videos shows her in intimate performances at a hospital during her own cancer treatment. We begin to realise that Linn uses radical nudity as a means to undermine accepted gender roles. This documentary also shows her in dramatised radio interviews in which she powerfully espouses her convictions about feminism and her transsexuality: not for Linn the role of a cis woman; she\u2019d rather be a woman with a penis whose gender identity is not bound by her genitalia but is in a permanent state of flux.<\/p>\n

Der Himmel auf Erden (Heaven on Earth)<\/strong>
\nDirector: Reinhold Sch\u00fcnzel, Alfred Schirokauer
\nGermany 1927, 113\u2032, German intertitles<\/em><\/p>\n

Screening: 19.30, CinemaxX 8<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

Local representative Traugott Bellmann is a vocal critic of society\u2019s moral decline in general and the notorious nightclub \u201cHeaven on Earth\u201d in particular. Just his luck that he inherits the place \u2013 along with half a million marks \u2013 and furthermore, on the day, of all days, that he is appointed president of the Moral Decency League! And just his luck that the terms of the inheritance from his deceased brother stipulate that Bellmann has to spend every night from ten to three in the morning in his newly-acquired \u201cden of iniquity\u201d. Adding to the just his luck scenario is the fact that it all happens on Bellmann\u2019s wedding day, with the daughter of a respectably champagne bottler waiting for her bridegroom in the bedroom \u2026 Shimmy, jazz, and Ziegfeld-style girl revues. With risqu\u00e9 innuendo and effervescent humour, the film turns elements of urbane entertainment into an attack on the 1926 obscenity law. At the same time, it celebrates cinema as a circus medium by elevating small artistes to large presences. Doors slam in the style of Ernst Lubitsch, while star Reinhold Sch\u00fcnzel, who would later direct Viktor and Viktoria, gives us a chic female impersonator as a jazz age gender bend.<\/p>\n

Juck<\/strong>
\nDirector: Olivia Kastebring, Julia Gumpert, Ulrika Bandeira
\nSweden, 2018, 18\u2032, Swedish<\/p>\n

Screening: 15.30, CinemaxX 3<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

Juck is sex. Juck is energy. Juck is protest. Juck is therapy. Juck is action. Juck is dominance. Juck is provocation. Juck is tolerance. Juck is movement. Juck is fantasy. Juck is arousal. Juck is utopia. Juck is seeing one\u2019s self, even if it\u2019s tough. Juck is not apologizing for existing. \u2018Femininity is a word that we can fill up with whatever we want,\u2019 they say. They fill it up with Juck.<\/p>\n

Mes provinciales (A Paris Education)<\/strong>
\nDirector: Jean Paul Civeyrac
\nFrance, 2018, 136\u2032, French<\/em><\/p>\n

Screening: 19.00, Kino International<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

Filled with expectations, Etienne moves to Paris from Lyon to study film directing at the Sorbonne. He leaves behind his girlfriend Lucie, promising to call her regularly via Skype. On his course he meets Jean-No\u00ebl and Mathias, they too have come to the metropolis from smaller cities and share his passion for cinema. Together they discuss the cinematic canon, read texts by Flaubert and Pasolini, and listen to Bach and Mahler. Jean-No\u00ebl proves to be an agreeable friend who tries to strengthen Etienne\u2019s fragile self-confidence; Mathias, on the other hand, often comes across as stern, aloof and mysterious. Fond of arguing, he has a habit of disappearing for weeks on end without the others knowing where he is. Nobody gets to see his student film, either. Etienne is particularly crestfallen when he discovers by chance that Mathias shares a secret with Annabelle, an idealistic young woman who lives in Etienne\u2019s shared flat and with whom he is secretly in love. Jean Paul Civeyrac\u2019s tenderly melancholic black-and-white study of these young people\u2019s encounter with art and life is at the same time a declaration of love for classic cinema and the city of Paris.<\/p>\n

Onde o Ver\u00e3o Vai (epis\u00f3dios da juventude)\/ Where the Summer Goes (chapters on youth)<\/strong>
\nDirector: David Pinheiro Vicente
\nPortugal 2018 20\u2032, Portuguese<\/em><\/p>\n

Screening: 21.30, CinemaxX 3<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

The summer heat shimmers. A group of friends drives to the forest. Their bodies are packed tightly into the car, four on the backseat and two up front. The men kiss. In the woods they happen upon a snake. The snake coils itself around the young man\u2019s foot. The girl holds it in her hands. Two men eat peaches. After the kiss, the day is over. The composition of the group in a picture frame recalls the early films of Asghar Farhadi, in which time and again the individual is also faced with the group. The staging of youth is modern and at the same time their gazes and gestures reference Baroque painting, without ever losing sight of the present day. In four chapters, 21- year-old David Vincente appropriates the beginning of all of the stories of the monotheistic religions and gives it a fresh interpretation. Reframing his-story.<\/p>\n

Para Aduma (Red Cow)<\/strong>
\nDirector: Tsivia Barkai Yacov
\nIsrael, 2018, 90′, Hebrew<\/em><\/p>\n

Screening: 17.00, Haus der Kulturen der Welt<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

\u2018How do you feel about intimate relations? Speak freely, don\u2019t hold back.\u2019 \u00b7 \u2018I think it\u2019s the highest connection between two souls.\u2019 Benny\u2019s hair is as red as the fur of her devout father\u2019s treasured calf \u2013 which he believes will bring salvation. But the 17-year-old feels as lonely and trapped as the calf in its enclosure. Benny\u2019s mother died giving birth to her, and she grew up alone with her caring yet patriarchal father. He is a figure of authority and a mentor for many people in their Jerusalem religious community. Benny becomes increasingly critical of her father\u2019s religious, utopian nationalism and then there\u2019s Yael, the self-confident young woman who has set off a whirlwind of longing and emotions in her. Avigayil Koevary powerfully portrays the defiance and desire of a young woman in Tsivia Barkai Yacov\u2019s debut feature film.<\/p>\n

T.R.A.P<\/strong>
\nDirector: Manque La Banca
\nArgentina, 2018, 16\u2032, Spanish<\/em><\/p>\n

Screening: 16.00, CinemaxX 5<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

A mystical place, an enchanted story: A group of knights, imported directly from the Middle Ages, go ashore on the banks of the R\u00edo De La Plata. They are searching for a grave where they wish to perform a ritual. As they pass through the jungle, things happen that cause them to land in the present day. They have sex, find a car, enjoy a sunset with beers in their hands. Then an announcement comes over the radio that makes everything appear in a different light, and there\u2019s no going back. This past summer demonstrations took place in southern Argentina against the Italian fashion and textile company Benetton. The company owns enormous tracts of land there that originally belonged to the Mapuche people. The indigenous Mapuche have been trying to get their property back for years in order to live in a self-determined manner. The protests were associated with excesses on both sides; Santiago Maldonado, who demonstrated with the Mapuche, disappeared in their midst. \u201cNever again\u201d was the widespread sentiment at the end of the dictatorship in Argentina, now the old threat seems to be looming again. There is no escape from reality \u2013 one has to face up to it. The filmmaker breaks open prevalent stereotypes in order to tell his own story free of hegemonial interference.<\/p>\n

Three Centimetres<\/strong>
\nDirector: Lara Zeidan
\nGreat Britain, 2017, 9\u2032, Arabic<\/em><\/p>\n

Screening: 15.30, CinemaxX 3<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

A moment of floating, standstill. Four girlfriends are sitting in the gondola of a Ferris wheel. The camera takes in the view of the Mediterranean sea on the Lebanese coast, watches the girls boarding the gondola, turns a round with them, rides up to the very top. Then, the wheel suddenly comes to a halt and so does the camera. Their conversation has just comes to an abrupt end when Manal confesses that she has a girlfriend.<\/p>\n

Tinta Bruta (Hard Paint)<\/strong>
\nDirector: Marcio Reolon, Filipe Matzembacher
\nBrazil, 2018, 118\u2032, Portuguese<\/em><\/p>\n

Screening: 22.30, CinemaxX 7<\/strong><\/em><\/p>\n

\"Displaying<\/p>\n

Pedro earns a living in chat rooms. The image resolution may not be perfect but when Pedro transforms himself into NeonBoy in
\nfront of the webcam he still manages to create the desired impression. Slowly, this young man dips his fingers into pots of coloured paint and glides them across his naked body. Glowing in the dark, NeonBoy follows his users\u2019 commands until he agrees to meet
\none of them in a private chat room for money. But things change when Pedro\u2019s sister Luzia moves out of their shared apartment and he notices that somebody is imitating his performances. He agrees to go on a date with his mysterious rival. This rendezvous will
\nhave far-reaching consequences. As with all of the previous films by directing duo Filipe Matzembacher and Marcio Reolon, we find ourselves again in Porto Alegre in northern Brazil, where we encounter young queers in search of intimacy, community and security. The elegantly interwoven virtual images and protagonists\u2019 stories may take us away from the real world, yet in actuality we remain in an increasingly homophobic Brazilian society to whose misfits this sensitive, affectionate portrait in three acts is dedicated.<\/p>\n","protected":false},"excerpt":{"rendered":"

We’re getting steamy on Sunday with some of our most sensuous TEDDY films this year! From the neon-paint-smeared bodies of ‘Tinta Bruta’, to trans MC, Lynn da Quebrada’s seductive stage performances, through to the wonderfully empowering female-thrusting of the ‘Juck’ dance, today’s selection celebrates sexuality in all its forms. Let loose your animal instinct with … Continue reading TEDDY TODAY: Sunday 18th February<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":25,"featured_media":2310,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2230","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general"],"_links":{"self":[{"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/posts\/2230","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/comments?post=2230"}],"version-history":[{"count":8,"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/posts\/2230\/revisions"}],"predecessor-version":[{"id":2311,"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/posts\/2230\/revisions\/2311"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/media\/2310"}],"wp:attachment":[{"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/media?parent=2230"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/categories?post=2230"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.teddyaward.tv\/en\/wp-json\/wp\/v2\/tags?post=2230"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}