![\"day_8_mishap\"](\"http:\/\/blog.teddyaward.tv\/en\/wp-content\/uploads\/sites\/4\/2015\/02\/day_8_mishap.gif\")
<\/a><\/p>\nWhat next? Another fiews in the calendar will help. Yes, then tomorrow will still be Friday the 13th but more important: Tomorrow the big TEDDY ceremony will take place at the Komische Oper. To be honest, \u00a0we can’t expect\u00a0that something bad will happen\u00a0there.<\/p>\n
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Wonderful World End<\/a> Japan 2015 In her Gothic Lolita guise 17-year-old Shiori attracts a lot of followers for her blogcast. Whenever she can she talks about herself, offers make-up tips and is delighted at the growing number of visitors to her site. After a music video shoot, confident Shiori meets a strange young girl named Ayumi. The girl is a big fan of Shiori\u2019s and tries to copy her style. She also seems to be rather distracted and monosyllabic, as if she had nothing of her own to say, but she has run away from home to be with Shiori. Hesitant, but also flattered, Shiori allows herself to be drawn in by this girl. This story of the odd friendship between these two girls is also a multi-coloured romp through the artificial world of Japanese teenagers. They do crazy things and dream of making it big. Their private thoughts are shared only in blogs. The film also reflects the disintegration of traditional forms of communication in its aesthetical approach: online chats pop up regularly over the proceedings. It\u2019s as if the smartphone display has been brought to the big screen. Based on two music videos by Seiko Oomori \u2013 Shiori\u2019s favourite female musician in the film \u2013 the drama ends like a comic book dream.<\/p>\n 9.30 am, Zoo Palast 1<\/strong><\/p>\n Blood Below the Skin<\/a> USA 2015 ‘Blood Below the Skin’ chronicles a week in the lives of three teenage girls who attend the same\u00a0high school class. Coming from different social circles, the girls prepare for the most important\u00a0night of their life \u2013 Prom Night. They have formed a dance group and rehearse the choreography.\u00a0Two of the girls are drawn to one another and fall in love. The third is forced to take care of her\u00a0distraught mother in the wake of her father\u2019s disappearance. Each girl finds refuge in her room and\u00a0bed, comfort and a place to explore new feelings. The music blasting from the turntable provides a\u00a0magical synchronicity between them all \u2013 the space-time continuum is expanded by the dimension of\u00a0music.Jennifer Reeder tells everyday stories with stylistic elements of magic realism that recall Latin\u00a0American cinema. All it takes is the power of thought in order to express your love to another.<\/p>\n 11.00 am, Hebbel am Ufer 1<\/strong> Viaggio nella dopo-storia<\/a> France 2015 A couple travels to Italy. During their trip, the state of their relationship becomes clear to them: They argue, take different paths and wonder whether to divorce. Vincent Dieutre has remade Viaggio in Italia and adapted it to his own life. Alex and Kate have become Alex and Tom, played by Vincent himself and his partner Simon. This new couple goes to the same places, experiences similar things, but their time in Naples is inevitably not the same. The city has changed, as has the nature of relationships, tourism has become more digital. As the two become increasingly alienated, Vincent the filmmaker moves through the city with his camera. He talks about how Rossellini\u2019s film shaped him. We hear his thoughts about a remake, notes to himself, his discussions with a copyright lawyer.\u00a0Isabella Rossellini says she doesn’t want to be involved. In Vincent and Simon\u2019s world, much like that of Tom and Alex, the procession of the final scene gives way to a football match. What was still sacred back then becomes a riot here. Yet the miracle of Rossellini\u2019s film remains, inscribing itself on the bodies of the two men: voices superimposed on to images and images superimposed on to bodies.<\/p>\n 11.00 am, CineStar 3<\/strong><\/p>\n Eisenstein in Guanajuato<\/strong><\/a> Netherlands\/Mexico\/Finland\/Belgium\/ 2015 In 1931 the Soviet director Sergei Eisenstein travels to Guanajuato to direct his film Que viva M\u00e9xico.\u00a0There he encounters a new culture and its dealings with death; he also discovers another revolution\u00a0– and his own body. Peter Greenaway depicts Eisenstein as an eccentric artist who travels to Mexico\u00a0filled with the hubris of being an internationally celebrated star director. Once there, he gets into\u00a0difficulties with his American financier, the novelist Upton Sinclair. At the same time he begins, in\u00a0the simultaneously joyful and threatening foreign land, to re-evaluate his homeland and the Stalinist\u00a0regime. And, in doing so, he undergoes the transition from a conceptual filmmaker into an artist\u00a0fascinated by the human condition. Under his gaze, the signs, impressions, religious and pagan 12.00 pm, Friedrichstadtpalast<\/strong> Je suis Annemarie Schwarzenbach<\/strong><\/a> France 2015 Annemarie Schwarzenbach was a shimmering figure of bohemian society of the 1920s. A talented\u00a0writer, she was lesbian, addicted to drugs, a globetrotter, bewitchingly androgynous and \u2013 much to her domineering Nazi-loving mother\u2019s chagrin \u2013 also anti-fascist. Berlin photographer Marianne\u00a0Breslauer described her as the most beautiful creature she had ever encountered. Schwarzenbach died young at the age of 34. She remained forgotten until the 1980s when her books began to be\u00a0republished and her biography reconstructed. Director V\u00e9ronique Aubouy does more than merely save Annemarie Schwarzenbach from obscurity, she brings her into the present. Sixteen young\u00a0actors of both genders slip into different roles in order to play Schwarzenbach, her friends and lovers. Increasingly fascinated by the pull of this figure, their oscillations between genders becomes a joint\u00a0project. Something that begins as an audition in which the young actors are asked to attach their biographies to that of the writer, ends in a dance of relationships in which the borders between reality\u00a0and dramatization are blurred.<\/p>\n 12.00 pm, CineStar 7<\/strong><\/p>\n Cancelled Faces<\/a> South Korea\/Germany\u00a02014 A man, striving for autonomy, lives in fear of being absorbed by his lover. Korea, the now: When Unk hits Boaz on his scooter, an\u00a0amour fou takes its course in a performative ballad of dependency, which is intertwined with the staging of an ancient story.<\/p>\n 14.30 pm, Kino Arsenal 1<\/strong><\/p>\n Fassbinder – lieben ohne zu fordern<\/strong><\/a> Denmark\u00a02015 Rainer Werner Fassbinder was probably Germany\u2019s most significant post-war director. His swift and\u00a0dramatic demise at the early age of 37 in 1982 left behind a vacuum in European filmmaking that\u00a0has yet to be filled, as well as a body of unique, multi-layered and multifarious work of astonishing\u00a0consistency and rigour. From 1969 onwards, Danish director and film historian Christian Braad\u00a0Thomsen maintained a close yet respectfully distanced friendship with Fassbinder. Fassbinder –\u00a0Lieben ohne zu fordern is based on his personal memories as well as a series of conversations and\u00a0interviews he held with Fassbinder and his mother Lilo in the 1970s. The film also contains current\u00a0interviews with Irm Hermann and Harry Baer, both of whom were close to Fassbinder. Beginning with\u00a0Fassbinder\u2019s extraordinary childhood in traumatised post-war Germany, the film, which is divided\u00a0into seven chapters, provides an illuminating, intimate and moving tribute that bears witness to the
\n<\/strong>Wonderful World End
\n<\/strong><\/em><\/p>\n
\n82′
\nDirector: Daigo Matsui
\nCast: Ai Hashimoto, Jun Aonami, Y\u00fb Inaba, G\u00f4 Rij\u00fb<\/p>\n<\/a><\/p>\n
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\n<\/strong>Blood Below the Skin
\n<\/strong><\/em><\/p>\n
\n32′
\nDirector: Jennifer Reeder
\nCast: Jennifer Estlin, Kelsey Ashby-Middleton, Morgan Reesh, Marissa Castillo<\/p>\n<\/a><\/p>\n
\n21.30 am, Neues Off<\/strong><\/p>\n
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\n<\/strong>Journey into Post-History
\n<\/strong><\/em><\/p>\n
\n80′
\nDirector: Vincent Dieutre
\nCast: Simon Versnel, Vincent Dieutre, Emmanuel Pierrat<\/p>\n<\/a><\/p>\n
\n
\nEisenstein in Guanajuato<\/em><\/p>\n
\n105′
\n<\/span>Director: Peter Greenaway
\n<\/span>Cast: Elmer B\u00e4ck, Luis Alberti, Rasmus Slatis, Jacob \u00d6hrmann<\/span><\/p>\n
\nsymbols of Mexican culture assemble themselves anew.Making use of extreme close-ups, splitscreens\u00a0and a dramatic montage – all to enact the transformation of a hero who presents himself as a\u00a0tragic clown – Greenaway deliberately quotes and modifies Eisenstein’s own cinematic tools. Scene\u00a0by scene the film gets closer to Eisenstein the man, who finds himself surprised by an unexpected\u00a0desire.<\/p>\n<\/a><\/p>\n
\n13.00 pm, Zoo Palast 1<\/strong>
\n18.00 pm, Friedrichstadtpalast<\/strong><\/p>\n
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\nMy name is Annemarie Schwarzenbach<\/em><\/p>\n
\n85′
\nDirector: V\u00e9ronique Aubouy
\nCast: Julia Perazzini, Nina Langensand, Megane Ferrat, Pauline Leprince<\/p>\n<\/a><\/p>\n
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\n<\/strong>Cancelled Faces
\n<\/strong><\/em><\/p>\n
\n80′
\nDirector: Lior Shamriz
\nCast: Kim Won-mok, Lee Je-yeon, Ye Soo-jeong, Won Tae-hee<\/p>\n<\/a><\/p>\n
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\nFassbindern – to love without demands<\/em><\/p>\n
\n109′
\nDirector: Christian Braad Thomsen
\nCast: Rainer Werner Fassbinder, Irm Hermann, Harry Baer, Andrea Schober<\/p>\n
\nenduring relevance of both the man and his work. Today in particular his oeuvre continues to provoke us to engage with controversy and tension \u2013 be it aesthetical, creative or critical.<\/p>\n