Remake On Location

Dykes, Camera, Action!

US 2018, D, E Caroline Berler, C Melanie McLean Brooks, M Gil Talmi, S Gisela Fulla-Silvestre, P Caroline Berler, Rebecca Benson, Print colour, DCP, 58 min, engl. OV, The Film Collaborative

Lesbians didn't always get to see themselves on screen. But between Stonewall, the feminist movement, and the experimental cinema of the 1970s, they built visibility, and transformed the social imagination about queerness. Filmmakers Barbara Hammer, Su Friedrich, Rose Troche, Cheryl Dunye, Yoruba Richen, Desiree Akhavan, Vicky Du, film critic B. Ruby Rich, Jenni Olson, and others share moving and often hilarious stories from their lives and discuss how they've expressed queer identity through film.

Followed by a conversation with Su Friedrich

In cooperation with Filmkollektiv Frankfurt – Projektionsraum für unterrepräsentierte Filmkultur e.V.

WED 23.10.19


Mal Seh'n Kino

Exclusive Networking event with director and screenwriter Teona Strugar Mitevska

Focusses on the professional exchange between women in film & media and the making and establishing of contacts. Special Guest: Producer, director and screenwriter Teona Strugar Mitevska, whose film God exists, her name is Petrunija will be shown in a preview afterwards.

Organized by WOMEN in FILM of Wirtschaftsförderung Frankfurt and WIFT Germany as part of Remake. Frankfurter Frauen Film Tage.

Ladies Only!

Admission free

Registration required via

SAT, 2.11.19


Kino des DFF – Deutsches Filminstitut & Filmmuseum

MK, BE, SI, HR, FR 2019, D Teona Strugar Mitevska, SC Elma Tataragić, Teona Strugar Mitevska, C Virginie Saint Martin, E Marie-Hélène Dozo, M Olivier Samouillan, S Ingrid Simon, Thomas Gauder, Hrvoje Petek, P Sébastien Delloye, Marie Dubas, Zdenka Gold, Danijel Hočevar, Elie Meirovitz, Labina Mitevska, Cast Zorica Nusheva, Labina Mitevska, Simeon Moni Damevski, Suad Begovski, Violeta Shapkovska, Print colour, DCP, 100 min, macedon. OV with german SUB, jip film & verleih

„Tell them you’re 24!“, Petrunya’s mother tells her as she heads off to another job interview. Petrunya is 31 and has a first-class degree in history. But who needs a historian in her home town of Štip in Macedonia? So there she sits opposite a potential employer, a factory owner who looks at her flowery dress condescendingly and refuses to take her seriously. On the way home − of course she didn’t get the job − Petrunya takes the plunge. It’s Epiphany day, and like every year, the young men of the city dive into the icy river to retrieve a wooden cross thrown in by the priest. But this time Petrunya is faster than anyone else. 

„Teona Strugar Mitevska delivers an angry yet melancholic satire that questions the state of democratic change in Macedonian society and passes scathing judgment on representatives of the Church, judiciary and the media. The film’s sympathy lies with the resolute young woman who defies archaic traditions and paralysing opportunism.“ (Dortmund | Cologne International Women's Film Festival, 2019)

Followed by a conversation with the director, with lead actress Zorica Nusheva and producer Labina Mitevska

In cooperation with jip film & verleih and Dortmund | Cologne International Women's Film Festival

Film starts at 20.15 (Reception from 19.30)

SAT, 2.11.19


Kino des DFF – Deutsches Filminstitut & Filmmuseum

„Frauen bildet Banden“ – eine Spurensuche zur Geschichte der Roten Zora

© Umbruch Bildarchiv

DE 2019, D FrauenLesbenFilmCollectif LasOtras, Christine Lamberty, Maria Baumeister, Print colour, DCP, 77 min, german OV with engl. SUB

The “Rote Zora” (Red Zora) was a militant women’s movement in West Germany of the 1970s and 80s. Its activities were directed against, among other things, everyday violence against women, against genetic and reproductive technologies, demographic policy and conditions of exploitation around the world as an expression of patriarchal hegemony. Their central aims were to facilitate the self-empowerment of “women-lesbians” and to break with the attribution of a dovish female nature. With their actions, the “Rote Zora” shaped and influenced an entire generation of feminist and lesbian activists, with consequences that extended far beyond the clandestine group itself. Stories from various contemporary eyewitnesses and interviews with a female historian and former “Zoras” bring the history of the “Rote Zora” and the women’s movement of the day back to life here – while providing ample food for discussion regarding the handling of this history today.

Followed by a conversation with FrauenLesbenGruppe Frankfurt

In cooperation with FrauenLesbenGruppe Frankfurt and Pupille e.V.

THU, 7.11.19


Pupille – Kino in der Uni

Hindle Wakes

GB 1927, D Maurice Elvey, SC Victor Saville based on a play by Stanley Houghton, C Jack E. Cox, William Shenton, E Gareth Gundrey, P Maurice Elvey, Victor Saville, Cast Estelle Brody, John Stuart, Norman McKinnel, Irene Rooke, Marie Ault, Humberstone Wright, Arthur Chesney, Gladys Jennings, Alf Goddard, Cyril McLaglen, Peggy Carlisle, Print b/w, 35mm, 116 min, silent , engl. INT +german SUB, BFI National Archive

Young Fanny Hawthorn works in a cotton mill in Hindle, Lancashire, England. During the yearly company outing, she enjoys an affair with the son of the factory owner. From her family’s point of view, the only thing that can restore her honour is a wedding. But Fanny won’t give up her freedom just because of her “little fancy”. Sexual self-determination is – in the spirit of Emma Goldman – part of the pride of the working woman.

With this story of emancipation, a sensation at the time, the film simultaneously presents a look at the first global capitalist economy, the cotton industry. It shows a spinning mill in Lancashire, where the work is directly connected to that of slaves on the cotton plantations in the American south. We don’t see them here (see Daughters of the Dust and Beloved in the festival programme), but the film is nevertheless a twofold documentation, of the women’s movement in the early 20th century and the situation of workers in the English cotton industry. Director Maurice Elvey’s declared purpose was to combine the story with documentary aspects, as Lucie Bea Dutton writes: „ [...] Hindle Wakes combined a play that Elvey regarded highly with his desire to show 'real locations' onscreen to create 'dramatized documentary'. This combination resulted in one of Elvey’s most celebrated films, both at the time of its original release and 90 years on. Having spent the last 14 years researching Elvey and his career, I believe he would have been delighted, proud, and somewhat astonished to learn that composer Maud Nelissen took the trouble to visit Blackpool and to see what remains of the cotton mills of North West England when creating the new score for this marvellous film.“ (Lucie Bea Dutton, Festival Publication Views of History, 2019)

Maud Nelissen is one of the most important international silent film pianists and composers. She performs in Europe, the USA and Asia, and regularly appears at the Il Cinema Ritrovato festival in Bologna and Le Giornate del Cinema Muto in Pordenone. She has worked for many years with Kinothek Asta Nielsen, often in cooperation with ZDF/arte, and she is the founder of the silent film orchestra “The Sprockets”.

For her new composition for Hindle Wakes, Nelissen’s task was to remain true to the film and to tie Elvey’s lively direction to a certain melancholy. The result is „a modern lyrical score with proud, honest elements referring to the folk music of the Lancashire area“ (Nelissen).

Accompanied on the piano by Maud Nelissen

MON, 2.12.19


Caligari FilmBühne Wiesbaden

Der zweite Anschlag / The Second Attack

© PRSPCTV Productions

DE 2018, D Mala Reinhardt, C Patrick Lohse, Katharina Degen, E Federico Neri, M Macarena Solervicens, S Kate Blamire, Gerald Mandl, P Kate Blamire, Benjamin Cölle, Katharina Degen, Patrick Lohse, Mala Reinhardt, Kopie Farbe, DCP, 62 min, german/turkis OV with engl. SUB, BC Production

„It’s about us“, says Ibrahim Arslan at one point in the film – he who lost his grandmother, cousin and sister as a boy in the 1992 arson attacks in Mölln and himself survived– “about our stories, our dreams”. One would be hard pressed to come up with a more succinct description of the agenda pursued by Mala Reinhardt’s documentary film The Second Attack. Reinhardt gives individuals that have experienced racially motivated acts of violence visibility through her film. She gives individuals the floor, to speak about how they cope with fear, grief, anger and the police’s unfounded suspicion, as well as about the feeling that the general public and media only seem to take notice of them when an anniversary rolls around. The film counters the sustained absence of any sort of adequate investigation of a great multitude of right-wing crimes by showing instances where those affected come together in solidarity. It is precisely in this focus on the victims, on their stories and criticisms of media coverage that the film continually makes viewers reflect on their own role. Why are all these names and faces unfamiliar? What does this ignorance mean? This “us” that Arslan refers to, it includes the viewers too. Der zweite Anschlag treats German remembrance culture as a problematic, cynical story of the reluctance to engage seriously with the phenomenon of structural racism. (Anne Küper,, 2018)

Followed by a conversation with the director

MON, 9.12.19



GB, US 2015, D Todd Haynes, SC Phyllis Nagy based on the novel The Price of Salt by Patricia Highsmith, K Edward Lachman, E Affonso Gonçalves, M Carter Burwell, S Geoff Maxwell, P Elizabeth Karlsen, Christine Vachon, Stephen Woolley, Number 9 Film, Film4 Productions, Cast Cate Blanchett, Rooney Mara, Sarah Paulson, Jake Lacy, Kyle Chandler, John Magaro, Print colour, DCP from Super-16mm, 118 min, engl. OV with german SUB, DCM

Fabrics, objects, light and a camera that circles around its characters as if it were weaving the web in which they entangle themselves. Carol, well-heeled lady of the New Yorker upper class, meets department store clerk Therese in the midst of the commercial hustle and bustle of Christmas. It’s the 1950s and the film luxuriates in decor. A series of encounters between the two dissimilar women in very different circumstances leads not only to a cautious drawing closer, passion and desperation – it also locates them in the (sexually) repressive climate of a hypocritical era. Todd Haynes unites his love for star-studded cinema and high drama with a clear eye for the dependencies that arise above all in tabooed relationships. (Annette Brauerhoch, Programmkino Lichtblick e.V., 2018)

WED, 11.12.19


Mal Seh'n Kino


US 1998, D Jonathan Demme, SC Akosua Busia, Richard LaGravenese, Adam Brooks based on the novel by Toni Morrison, C Tak Fujimoto, E Andy Keir, Carol Littleton, M Rachel Portman, S Skip Lievsay, P Jonathan Demme, Kate Forte, Gary Goetzman, Edward Saxon, Oprah Winfrey, Cast Oprah Winfrey, Danny Glover, Thandie Newton, Kimberly Elise, Beah Richards, Lisa Gay Hamilton, Albert Hall, Jason Robards, Print colour, digital, 172 min, engl. OV, The Walt Disney Company

18 years after her escape to freedom, former slave Sethe lives with her daughter just outside the gates of Cincinnati. Rare fortune seems on the horizon when brother-in-suffering of former days Paul D. steps into her life. Alas, the family is haunted by the trauma of the past in the form of a mysterious young woman known as “Beloved”. Leading woman Oprah Winfrey played a key role in producing this film, which translates the novel by Toni Morrison, who passed away in August, into poetic and eerie imagery.

„The boundaries between history and our private lives cannot be made impermeable, and so it follows too that Demme has chosen to create neither epos nor chamber drama, but a third thing instead. An aesthetic of infiltration and exclusion, of imprisonment and liberation. A history lesson on one hand, and on the other a film that continues the soul-iconography of Silence of the Lambs in a completely different context. And the film is also radical in the sense that it doesn’t offer us any “good” white folks, any myth of reconciliation. Liberation is only just getting started, and the past is never over.“ (Georg Seeßlen, epd Film, No. 4/1999)

WED 18.12.19



Internationalism, social thrust and the technical and artistic autonomy of the material were central to Ella Bergmann-Michel’s work. This approach dovetailed productively with the concept of the New Frankfurt association, not only in the Arbeitsgemeinschaft für den modernen Film but as a requirement and impetus for her first two films. We show them here once more, together with Jonas Geist‘s and Joachim Krauss’ film on the “Frankfurt Kitchen“. Autonomy, social participation, and collective infiltration strategies in living arrangements (especially on the part of women) are also a topic for our guest Gabu Heindl (architect, Vienna), who knew Margarete Schütte-Lihotzky personally and deliberately seeks out these challenges in her projects.

Guest: Gabu Heindl

Wo wohnen alte Leute?

DE 1931, D, C, E, P Ella Bergmann-Michel, SC Ella Bergmann-Michel, Mart Stam, Print b/w, 35mm, silent, 13 min, DFF - Deutsches Filminstitut & Filmmuseum

Even the origin story of the Budge House, which is portrayed in this film, implies the common social imperative of middle-class patronage and New Objective, mass culturally-oriented modernism. Jewish benefactors Henry and Emma Budge were interested in collectivism: one of their important principles as donors was directed at the “equality of affluent citizens and needy people”. The architectural design took up this idea, and not only in its title “Collective”; the competition jury emphasized “the arrangement of the household and community areas, which are in the centre of the group of buildings; this design expresses the essence and spirit of the retirement home particularly clearly”. Doors and passages that open up – often those connected with public life – play a big role in the film: these include the post box, the daily paper and the community garden. The animated segments also highlight this, as “moving drawings” showcase the architecture’s mobility, open double doors, and communalise small cells into a large common area.

Erwerbslose kochen für Erwerbslose

DE 1932, D, SC, C, E Ella Bergmann-Michel, P Ella Bergmann-Michel, Paul Seligmann, Print b/w, 35mm, silent, 9 min, DFF - Deutsches Filminstitut & Filmmuseum

Self-help is not only the subject of the film; it was also the basis of its production: in a short time, members of the Film League solicited the necessary production funding from the “haute volée of Frankfurt society” (Robert Michel). The food warehouse landlord waived the rent; vegetables from the May settlement gardens were donated; the food was picked up on carts borrowed from “travelling hawkers” by the women of the “practical kitchen”; graphic artists created signs and posters for the public screenings at the Hauptwache; an unemployed railway conductor used his coin counter to tally donations and proceeds. Not least, the public kitchen served as a common space “like library rooms”, especially in winter; people told each other stories and their “personal ambitions”.

Die Frankfurter Küche

BRD 1985, D Jonas Geist, Joachim Krausse, Print digital, 42 min, absolut MEDIEN

Ernst May, named Frankfurt’s director of city planning in 1925, assembled a staff of young architects, planners and designers. With its wide-ranging aspiration to create a modern housing culture […] New Frankfurt distinguished itself as the most innovative major New Construction project of the 1920s.  (DVD Booklet Edition Bauhaus - Das Neue Frankfurt, absolut Medien)  60 years later, in 1985, the filmmakers portray the New Frankfurt housing development from a historical perspective as well as from the point of view of its current users. Part 3, which we screen here, focusses on the Frankfurt Kitchen. Architect Margarete Schütte-Lihotzky explains the origin story of her concept in an interview; residents demonstrate its use in action; archival material and new footage reveal how the housing model and day-to-day living adapt to each other symbiotically.

WED, 22.1.20


Kino des DFF – Deutsches Filminstitut & Filmmuseum

Gendernauts – Eine Reise ins Land der Neuen Geschlechter / Gendernauts: A Journey Through Shifting Identities

© Edition Salzgeber

DE 1999, D, SC Monika Treut, C Elfi Mikesch, E Eric Schefter, M Georg Kajanus, Veronica Klaus, Pearl Harbor, S Andreas Pietsch, P Monika Treut, Hyena Films, Print colour, DCP from 35mm, 86 min, engl. OV with german SUB, Edition Salzgeber

Gendernauts explores the phenomenon of transgender identity. The setting: San Francisco at the dawn of the new millennium. The film shows gender-benders and sexual cyborgs who alter their bodies with the aid of new technologies and biochemistry, challenging conventional notions of binary male-female identity. In response to the question “Are you a man or a woman?” the protagonists simply answer “Yes”. Gendernauts introduces us to a group of fascinating artists in California that inhabit the area between the poles of traditional gender identity. Just as cosmonauts journeyed through outer space and cybernauts through the tendrils of the web, so do the gendernauts travel through the multifarious dimensions of sexuality. (Hyena Films)

Guest: Director Monika Treut

MON, 27.1.20


Pupille – Kino in der Uni

Screening of all films by Ella Bergmann-Michel in digital restoration (2K-DCP) and presentation of recently-discovered material

Film history is always also the history of destruction and loss – but sometimes of rediscovery. The point of departure for “valid” versions of Ella Bergmann-Michels films has always been and still is complicated. Paul Seligmann took a number of reels with him into exile; some films were only assembled after the fact due to the political situation; still others have long been considered lost. For the 2006 “Edition filmmuseum” DVD, source material of varying provenances was used. In addition to this year’s new digitalisations, we will screen recently discovered material:

There is now a different working version of Wo wohnen alte Leute from the estate of architect Mart Stam, which is more closely oriented to the original script by Ella Bergmann-Michel and Mart Stam and probably represents a first draft. A longer rough cut of Fischfang in der Rhön was discovered, which contains numerous original scenes that were shot but never used – here the rural environment and inhabitants of Sinntal particularly come to the fore. Bergmann-Michel occasionally also called this film Spaziergang in der Rhön (Walk Through the Rhone), which describes this version nicely.

Sünke Michel, Ella Bergmann-Michel’s daughter-in-law, talks about her artistic résumé and work techniques as well as the rediscovery of the films. Thomas Worschech of the DFF (Deutsches Filminstitut und Filmmuseum) comments on and explains the material situation of the films and their edition history.

Premiere of digitally restored prints and recently-discovered material

Followed by a conversation with Sünke Michel and Thomas Worschech

Wo wohnen alte Leute?

DE 1931, D, C, E, P Ella Bergmann-Michel, SC Ella Bergmann-Michel, Mart Stam, Print b/w, DCP from 35mm, stumm, 13 min, DFF - Deutsches Filminstitut & Filmmuseum

“Bergmann-Michel’s Where Old People Live provides an excellent example of an appropriate solution to the urgent housing question. It shows a model retirement home, built by architect Mart Stam for Frankfurt Main. The film is intended to advance this important topic throughout the world.” (“Neue Filme vom Bauen”, Kunst und Volk, Issue 5, January 1932) The building design was titled “Collective”. Ella Bergmann-Michel is especially interested in the moments of social interaction: like the residents, she permits herself to be guided by the possibilities and departures which the open interior design presents. “A cheerful interweaving of rooms; the windows allow the covered walkways and chat rooms to glide into each other. A promotional film without gimmicks, a filmed primer that combats prejudice.” (Frankfurter Zeitung, 15 January 1932)

Erwerbslose kochen für Erwerbslose

DE 1932, D, SC, C, E Ella Bergmann-Michel, P Ella Bergmann-Michel, Paul Seligmann, Print b/w, 35mm, silent, 9 min, DFF - Deutsches Filminstitut & Filmmuseum

“A documentary film about the relief organisation that supported Frankfurt’s kitchens for the unemployed. The film screened in all cinemas in Frankfurt in September 1932 to kick off a major public donation campaign. The Frankfurter Zeitung wrote: ‘This film demonstrates, in a simple and completely unadorned fashion, the wretchedness of the direst unemployed and penniless existence…’ It also demonstrates both the social importance and the organisation of the kitchens. […] The film’s guiding principle is ‘Everyone must help!’” (Ella Bergmann-Michel, The Getty Research Institute, 88-A256; 880303) “It is interesting that major film companies refused to produce a film such as this one about the kitchens for the unemployed, arguing that the costs for the lighting equipment alone would be too high. Frau Bergmann-Michel had to make the film on her own, despite great difficulties and on a very small budget.” (Volksstimme Frankfurt, 29 September 1932) 

Fliegende Händler in Frankfurt am Main

DE 1932, D, SC, C, E Ella Bergmann-Michel, P Ella Bergmann-Michel, Paul Seligmann, Print b/w, DCP from 35mm, silent, 37 min, DFF - Deutsches Filminstitut & Filmmuseum

“Documentary film shot in the streets and on the squares of Frankfurt – recordings caught by observing the professional lives of various people who sold goods, sometimes without police authorisation, while they were unemployed.” (Ella Bergmann-Michel, notes on her films, Sprengel archive Inv. No. A 40.04c-01-) By the early 1930s, phantasms of female awakening and self-empowerment – as well as female flâneurs – had long been fixed medial images. But a woman roaming on her own with a film camera, observing and staging the urban environment with all its hidden corners, represents a solitary departure into the public sphere. She literally goes behind the scenes of the “travelling hawkers” and the funfair activity.

Fischfang in der Rhön (an der Sinn)

DE 1932, D, SC, C, E, P Ella Bergmann-Michel, Print b/w, DCP from 16mm, silent, 11 min, DFF - Deutsches Filminstitut & Filmmuseum

“Documentary film about a walk in the Rhön Mountains and the catching of trout and graylings. Film material: set up myself, without a script, just direct observation,” notes Ella Bergmann-Michel soberly of this cinematic stream of consciousness. Organic and abstract figures splash in and over each other; light and shadow undulate in waves. The rural residents are brought into the flow of images; their activities are studied closely for a moment; the look straight into the camera catches us as well.

Wahlkampf 1932 (Letzte Wahl)

DE 1932/33, D, SC, C, E, P Ella Bergmann-Michel, Print b/w, DCP from 35mm, silent, 13 min, DFF - Deutsches Filminstitut & Filmmuseum

The camera’s searching look along the streetscape takes on an additional political edge. It lingers at advertising columns and studies their torn paper as visible signs of protest; it seeks out the exits of workplaces to observe employees. Puzzled, it registers ordinary gestures in threatening uniforms; it follows the gathering electorate, then remains standing behind a flagpole. The flâneur becomes a witness to the increasing crisis, to the evident grip of the future regime on daily life. She observes the perceptible acquiescence and self-fashioning of the majority of the population as well as the disappearing remnants of palpable resistance. She gathers evidence.

WED, 29.1.20


Kino des DFF – Deutsches Filminstitut & Filmmuseum

Fortunately, Ella Bergmann-Michel’s cultural film work can be reconstructed. She attached particular importance to her lesser-known activities as a programmer, film agent and travelling lecturer, and she threw nothing away. Handwritten notes were typed up, dated and commented on, folders crammed full of film lists and remarks. Her lecture notes are scribbled on the edges of receipts, the backs of airmail envelopes, on cardboard lids and paper napkins. There are manuscript versions of the completed lectures which address viewers directly. In the early 1950s, she often had to invent the language for her lecture cycle “50 years of cinematic art” herself. She created words and devised generally understandable ways to explain the technical development of cinematography. Though she made no pretense of her preferences – she admired the abstract films of Norman McLaren and loved Asta Nielsen – she presented films across all genres and history. She wanted to display “this badly behaved, undomesticated mix of technology and the spirit of adventure, of pictures and literature”, in all its manifestations. She encouraged the audience to experiment („I ask that you confront the small films […] with as little prejudice as possible“), though she also invited dissent. In a combination of readings and cinema performances, we present a collage of her texts and some of the films she presented – and we present them in the same ceremonial hall in the same student centre where she often introduced her programmes.

SAT, 01.02.20


Pupille – Kino in der Uni