Remake On Location

© Arsenal – Institut für Film und Videokunst e.V.

DE 1994 | Director, Script: Serap Berrakkarasu | Camera, Editor: Gisela Tuchtenhagen | Production: Serap Berrakkarasu, Serap Berrakkarasu Filmproduktion | Colour | DCP of 16mm, restored version | 104 min | german/turkish OV with german SUB | Arsenal – Institut für Film und Videokunst e.V.

They get their vegetables from the garden behind the house, their fish from a can, and the money for bread from their work in the factory. It was the lure of this money that brought them here. Women from Turkey and women from Mecklenburg – they work side by side on the conveyer belt of a Lübeck fish factory. Their hands are stained brown, the pungent smell of fish clings to everything, their arms and backs ache. If this work were done by men, it would have been automated long ago. But female labour is cheap, and the women don’t complain. They have learned to work, and they are proud of it. 

Serap Berrakkarasu has managed to build a relationship of trust because she approaches the women with feeling and great interest, and because she speaks their language. Ekmek Parasi, Money for Bread is a film in German and Turkish, which lends it its charm and authenticity. Typical women's work has always been communicative. Serap Berakkarasu and Gisela Tuchtenhagen have managed to take up this communication and to preserve its directness and spontaneity in the film. At the end, the filmmakers are seen off by the fish factory workers like colleagues: have a nice weekend! (Linde Fröhlich, Nordic Film Days Lübeck catalogue, 1994)

In cooperation with DFF – Deutsches Filminstitut & Filmmuseum as part of film series From Here – Films as Archives of the Migrant Society, curated by Tobias Hering and Björn Schmitt.

WED, 15.9.21

6.00 pm

Kino des DFF – Deutsches Filminstitut & Filmmuseum

© Park Circus / ITV Studios

AT 1991 | Director: Ursula Pürrer, Ashley Hans Scheirl, Dietmar Schipek | Cast: Susanna Heilmayr, Ursula Pürrer, Ashley Hans Scheirl, Margarete Neumann, Gabriele Szekatsch, Dietmar Schipek, Anthony Escott, Luise Kubelka | Production: Loop TV-Video Film Production, Wien | Colour | DCP of 16 mm-blow up von Super 8, restored version | 84 min | german OV | Kinothek Asta Nielsen

A city scenario: gutted, destroyed, left to decay. Concrete deserts, urban motorways and urban canyons, condemned houses, dumps, factories in ruins. Endless darkness, rain and war. In the year 2700, the year of the toads, "Asche" was a burnt-out city. Too big for its souls, who banded together in dark cellars, it was an unrestrained wild animal, ready to pee in Death's face at any time...
“A word about Flaming Ears. A generation ago the film was still small and sweet in Super 8: now it's casually grown-up and digitally fully present, thanks to Asta Nielsen… This film, made in 1991, anticipated ideas that people only later found expressions for: Demonstrate diversity! De-integrate yourselves! Come to terms with the present! Mobilise! (Dietrich Kuhlbrodt, February 2021)

Followed by a conversation with directors Ursula Pürrer and Ashley Hans Scheirl, together with Karola Gramann

TUE, 26.10.21

8.45 pm



© Filmperlen

USA 2019 | Director, Editor, Production: Pamela B. Green | Script: Pamela B. Green, Joan Simon | Camera: Boubkar Benzabat | Music: Peter G. Adams | Narrator: Jodie Foster | With: Alice Guy-Blaché, John Bailey, Geena Davis, Julie Delpy, Ava Du Vernay, Patty Jenkins, Ben Kingsley, Agnès Varda, Evan Rachel Wood | Colour & b/w | DCP | 103 min | french/ english OV with german SUB | Filmperlen

Alice Guy-Blaché began making films in 1896, only one year after the birth of the cinema [...]. As a Gaumont secretary, she was actually responsible for the promotion of photographic equipment; the product range was expanded to include a simple version of a cinematograph. The secretary asked her employer whether she could also film a couple of scenes, Alice Guy-Blaché tells us in a 1957 television interview. Yes, it's something young women can do, he supposedly said. The advertisements for the cinematograph displayed a surprising gender balance: a man and a woman holding the device equally and enjoying filming. [...]

In her documentary film Be Natural: The Untold Story of Alice Guy-Blaché, American filmmaker Pamela Green presents the feminist impact of the film pioneer in detail. Her influence reached to Sergei Eisenstein's Battleship Potemkin (1926), with the famous scene on the stairs where the baby carriage takes off on its own, and October: Ten Days That Shook the World (1928), with the masculine behaviour of the female anti-aircraft gunners. Russian film historian Naum Kleiman tells us that Eisenstein mentioned the films of Alice Guy-Blaché in his notes. Pamela Green very carefully seeks out an original argument and historic document for each thesis. She leaves (almost) nothing to speculation, amasses material and biographical details, assembles the daughters, draws family trees and outlines influences using lines and arrows. She finds a fitting document for every statement, points out locations on maps of archives that hold information on the world's first woman filmmaker – so much so that the viewer is nearly overwhelmed. (Dunja Bialas,

WED, 10.11.21

6.00 pm

Mal Seh’n

FR 1985 | Director: Jean-Luc Godard | Script: Alain Sarde, Philippe Setbon | Camera: Louis Bihi | Editor: Marilyne Dubreuil | Cast: Johnny Hallyday, Nathalie Baye, Claude Brasseur, Jean-Pierre Leaud | Production: Sara Films/JLG Films | Colour | 35mm | 95 min | french OV with german SUB | Cinémathèque Suisse

For Godard, the Concorde Saint-Lazare is a natural studio, perfectly suited to the genre – just like the Ritz and the Crillon as hotels are natural palaces, and the Lutétia was a natural telephone exchange to the Nazis. In the other eras that have also known this hotel, the guests disembarked from their overseas journeys, for Gare Saint-Lazare is the station for trains to and from Le Havre. The category of leisure travellers ceased to exist long ago. The tourists who’ve taken their place are embodied in Godard’s film by an old American couple that limps through the pompous hall, which still retains its old glamour. The rooms behind the doors along the tunnel-like corridors are economically designed and decorated, according to the most modern stipulations. […]

The melancholic lighting that pervades Godard’s films participates in the former glitz of a once great building. The history of this building type is over, as is the history of a particular cinema. Truth is transparent, says a wise little girl, right now, between appearing and disappearing. (Frieda Grafe, “Film-Historical Hotel Guide”, 1991)

FRI, 10.12.21

6.00 pm

Kino des DFF – Deutsches Filminstitut & Filmmuseum

© DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt am Main, Bildarchiv

BRD, IT, FR 1960 | Director: Fritz Lang | Script: Fritz Lang, Heinz Oskar Wuttig | Cast: Wolfgang Preiss, Dawn Adams, Peter van Eyck, Werner Peters | Production: CCC-Filmkunst / Cei-Incom | b/w | 35mm | 104 min | german OV with dutch SUB | EYE Film Institute Amsterdam

The name Luxor for the hotel in the film already sets the tone. The grand hotels of German film post-1945 are no longer at the same level as before the war, but in Fritz Lang’s dramaturgy, they still have their function. The Luxor of 1960 corresponds to the Olympic in Spione (Spies) of 1928. The detective stories have turned into thrillers. The Luxor is the operational headquarters of the crime. The hunter and the hunted live in the same building. The women, used as bait, prove to be unpredictable and pervert the system. Lang defended the film to a friend who felt the demonic aura of his pre-war films was lacking, explaining: that is the cold reality of today.  (...)

Lang cited a news item as the inspiration for the film. Planned by Albert Speer, along the north-south axis of Berlin/Germania, opulent state hotels were to be built, fitted with perfect audio surveillance systems. The bugging apparatus is developed in the film to include the advent of television. Lang’s two-way mirror walls are steeped in memory. Like in Cocteau’s films, they are reflective of the nature of cinema. They implicate the viewer as voyeur. (Frieda Grafe, “Film-Historical Hotel Guide”, 1991)

FRI, 10.12.21

8.15 pm

Kino des DFF – Deutsches Filminstitut & Filmmuseum

DE 2019 | Director, Script: Therese Koppe | Camera: Annegret Sachse | Editor: Evelyn Rack | Music: Irma Heinig | Sound: Billie Mind | Production: Therese Koppe, Marie-Luise Wagner, Filmuniversität Babelsberg KONRAD WOLF | Colour | DCP | 74 min | german OV | Edition Salzgeber

Erika Stürmer-Alex and Christine Müller-Stosch are both 81 and have been a couple for 40 years. On an isolated farm in the East German Uckermark, they have created a space for an artistic life that is as free as possible. They still live here, in the peaceful countryside. A Quiet Resistance accompanies them as they lead their lives together under an authoritarian regime. They pass review of their survival strategies before and after the fall of the Berlin Wall, and they look together to the future. They read each other's Stasi files and diaries aloud at the kitchen table, and they read letters they wrote each other the few times they were separated. In so doing, Erika and Tine reflect on their experiences on the Lietzen art farm; the celebrations, the theatre rehearsals, and the long search to even find this place. They also recall the "Wessis" who came driving up to the farm after reunification and tried to claim it.

Director Therese Koppe uses archival material of performances, workshops and exhibits, as well as quiet images of the farm community's daily life, to tell the story of two strong personalities who ask themselves what role art can play in a restrictive society and in politically sensitive times. How can it provide meaning for the individual as well as the community? And how can we hold on to our ideals without having to make compromises? (Carolin Ernst, Kasseler Dokfest)

In Cooperation with KunstWerk Praunheim e.V.

The screening will not be able to take place on Dec. 11 as planned, but will be postponed to March 2022. An exact date will be announced.

SAT, 05-10-22

7.00 pm

Zehntscheune Praunheim

© Peripher Filmverleih

USA 2019 | Director, Editor: Kelly Reichardt | Script: Jon Raymond, Kelly Reichardt | Camera: Christopher Blauvelt | Cast: John Magaro, Orion Lee, Toby Jones, Ewen Bremner, Scott Shepherd | Colour | DCP | 122 Minuten | amer. OV with german SUB | Peripher Filmverleih

Cookie (John Magaro) is probably the gentlest person to ever tramp through a Western. Out collecting mushrooms one day, he discovers a salamander on its back and carefully turns it over. And he helps the naked Chinese man (King-Lu) who appears before him in a bush one night. Cookie works as a cook for a troop of fur hunters in wild early-19th-century Oregon. It’s not really his scene. He would rather decorate a friend's cabin with the flowers he picks. Cookie isn’t one to throw punches. .[...] Against the backdrop of this uncivilised country, with its frequently brutal settlers who only look out for themselves, the friendship between Cookie and King-Lu is as out of place as the first cow to ever turn up in the area. “Cows don’t belong here,” somebody says. “Neither do white men,” somebody else responds. [...]

In addition to this story of friendship, First Cow deals with early capitalism: the laws of the market, supply and demand, and how to achieve added value. All these things can easily be related to the sale of doughnuts.

Chief Factor (Toby Jones), who owns the cow and probably most of the countryside around the settlement, is both the most cultivated and the most barbaric character in the film. [...] Cookie's little cakes melt in his mouth; he blathers on about Paris fashions. This makes it all the more gruesome when he begins reckoning how harsh to make his impending corporal punishment of an older worker. He decides it's all right to cripple him because the deterrent effect is more valuable than the man's worth as a labourer. As he presents this callous calculation, the camera circles around him to display his elegantly appointed home, to the point where the viewer grows dizzy. Here Reichardt formulates the logic of capitalism: the rules and power relations in this new society are the same as the old ones. FIRST COW is also a statement about how things might have been done differently. (Martina Knoben, Süddeutsche Zeitung, 9.7.2021)

MON, 10.1.22

8.15 pm

Pupille – Kino in der Uni

Filmmaker, performance artist and author Thirza Jean Cuthand was born in Regina, Saskatchewan, Canada, and grew up in Saskatoon. Since 1995, she has made short experimental videos and films on sexuality, insanity, queerness, love and indigenousness which have been and are screened at numerous international film festivals including Tribeca, Mix Brasil Festival of Sexual Diversity Sao Paolo, ImagineNATIVE Festival Toronto, Frameline San Francisco, Outfest Los Angeles, the International Short Film Festival Oberhausen and the Berlinale.

In this programme, curated by Thirza Cuthand, we show not only her most recent work, the NDN Survival Trilogy (2019), but a number of selected earlier works which can partially be seen on her website but are too rarely seen on the big screen. 

In Extractions, the first film in the NDN Survival Trilogy, the filmmaker creates complex connections between destructive raw material extraction and the booming foster child industry which even today separates many indigenous children from their biological parents. As Cuthand reflects on how these industries influence their lives, she considers freezing her ova so she can have an indigenous baby herself someday. In Less Lethal Fetishes, she describes her more than latent gas mask fetish and the political controversies in her art: she too sees herself as caught up in an art and film industry that is financed by dirty money – and is painfully conscious of her complicity in suppression, exploitation and environmental pollution. Finally, Reclamation is a dystopian satirical decolonialisation story in which three indigenous survivors who are left on earth discuss their plans after the whites have finally left the destroyed planet for Mars. There are also several queer girl/fairy-tale films, a video about lesbian vampires' relationship problems, a piece on Cuthand's own decision against transitioning, and an indigenous fantasy film. (Katja Wiederspahn)

Guest: Katja Wiederspahn. In cooperation with Queertactics, Vienna.


Helpless Maiden Makes an “I” Statement

CA 1999 | Director, Script, Editor, Production: Thirza Cuthand | Colour & b/w | DCP | 6 min | OV | Thirza Cuthand

Through the Looking Glass

CA 1999 | Director, Script, Editor: Thirza Cuthand | Colour | DCP | 14 min | OV | Thirza Cuthand

You Are a Lesbian Vampire

CA 2008 | Director, Script, Production: Thirza Cuthand | Colour | DCP | 3 min | OV | Thirza Cuthand

Just Dandy

CA 2013 | Director: Thirza Cuthand | Colour | DCP | 7 min | OV | Thirza Cuthand

Boi Oh Boi

CA 2012 | Director, Script, Production: Thirza Cuthand | Colour | DCP | 9 min | OV with german SUB | Thirza Cuthand


CA 2018 | Director: Thirza Cuthand | Colour | DCP | 13 min | OV with german SUB | Thirza Cuthand

Woman Dress

CA 2019 | Director, Script: Thirza Cuthand | Camera: Gabriela Osio Vanden | Editor: Maria Todorov-Topoutov | Production: Justine Pimlott | Colour | DCP | 6 min | OV with german SUB | Thirza Cuthand

Less Lethal Fetishes

CA 2019 | Director, Script, Sound, Production: Thirza Cuthand | Colour | DCP | 9 min | OV with german SUB | Thirza Cuthand


CA 2019 | Director, Script, Editor, Production: Thirza Cuthand | Colour & b/w | DCP | 16 min | OV with german SUB | Thirza Cuthand 

MON, 17.1.22

8.15 pm

Pupille – Kino in der Uni


DE, IT 1993 | Director, Script: Carmen Tartarotti | Camera: Pio Corradi | Editor: Ferdinand Ludwig, Carmen Tartarotti | Sound: Kurt Eggmann, Michael Busch | Music: Werner Pirchner | Colour | 16mm | 70 min | german/italian OV with german SUB

Paradise is a place at the back of the Martell Valley, where, in the 1930s, urban civilisation permitted a futuristic hotel to be built based on a plan by famed Italian architect Gio Ponti. This hotel has been in ruins for more than 20 years. "Paradise" is a metaphor for a charming landscape, an untouched place: this spot was chosen by rich, influential city dwellers as a place to erect a hotel with all the modern comforts for their recreational needs. The flip side of the paradise metaphor is temptation and sin. Farmers from this Alpine valley only had access to the futuristic building as construction workers, and later as suppliers of food. Hotel Paradiso is also indirectly a film about the workings of capitalism. The idealistic, progressive thinking of the 1930s was followed by the focus on profit in the 1950s and the speculative thinking of the 1960s and 1970s; alienation is increasingly in evidence. (Carmen Tartarotti, 1993)

WED, 19.1.22

8.15 pm

Kino des DFF – Deutsches Filminstitut & Filmmuseum


© Edition Salzgeber

DE 2021 | Director, Buch: Monika Treut | With: Annie Sprinkle, Beth Stephens, Stafford, Sandy Stone, Susan Stryker, Max Wolf Valerio | Camera: Elfi Mikesch, Robert Falckenberg, Nola Anwar, Monika Treut | Editor: Angela Christlieb, Margot Neubert-Maric | Music: Mona Mur | Sound: Robert Falckenberg, Sophie Blomen, Jes Gallegos | Editorial Staff: Nicole Baum | Production: Monika Treut, Hyena Films | Co-Production: ZDF Mainz, 3sat Mainz | Colour | DCP | 88 min | amer. OV with german SUB | Edition Salzgeber

Monika Treut returns to the protagonists of her film Gendernauts from the year 1999. Although now older, the artists, academics and transactivists are no less lively, clever, gentle and wise. Monika Treut asks them what has changed in their lives but also what issues they continue to struggle with. This poignant portrait writes queer history but is by no means a form of closure. The socio-political situation has changed. As a centre of queer politics, San Francisco no longer attracts everyone. Rent prices have increased so much that only activists with a good income can afford to live here. The community that was once at home here has also changed over the years. The protagonists of Monika Treut’s film talk about their everyday lives today, about art, the academic world but also about activism. Genderation is a journey through time, a reunion with familiar characters and a road movie without closure. A cross-generational conversation is also made possible through the medium of film. (Internationales Frauenfilmfestival Dortmund | Köln)

Unfortunately, director Monika Treut can't attend on this date. But there will be another screening with her as a guest, followed by a conversation, taking place in march.  The additional date will be communicated via our various channels.

MON, 7.2.22

8.15 pm

Pupille – Kino in der Uni


© DFF – Deutsches Filminstitut & Filmmuseum, Frankfurt am Main, Bildarchiv

USA 1937 | Director: Mitchell Leisen | Script: Preston Sturges | Cast: Ray Milland, Jean Arthur, Edward Arnold | Production: Paramount | b/w | 35mm | 88 min | amer. OV

The plot for Easy Living draws on the real Waldorf Towers, which were built during the Depression and went on to become a financial catastrophe. As the hotel owner says in Sturge’s film, how can such a phenomenon be a flop? From below, we see its immense, honeycomb-like façade, tapering off into the sky.

The film begins with an internal downward motion. The big financier J.B. Ball, the Bull of Broad Street, falls down the elegant stairwell of his New York City penthouse. A short time later, a moving shot outside follows a mink coat that he hurls from the roof of the building in a fit of rage. Following which his wife heads off to Florida – probably to the Biltmore in Miami or the Don Cesar. In the interests of simplicity – and of the dramaturgy of the film – he moves into the empty Waldorf Louis, unintentionally promoting it in the process. It provides the appropriate framework for the evidently unpredictable ups and downs of the market, and of the emotions. (Frieda Grafe, “Film-Historical Hotel Guide”, 1990)

WED, 02.02.22

8.15 pm

Kino des DFF – Deutsches Filminstitut & Filmmuseum


BLR, DE 1992 | Director: Jurij Chascewatskij | Script: Ella Milova, Irina Pismennaja | Camera: Semjon Friedland | Editor: Vera Antipowa | Sound: Grigori Komel, Wassilij Schitikow | Assistant Directors: Bronislawa Loban, Marina Pawlowa | Production Lead: Michaeil Schinkewitsch, Hildegard Westbeld | Editorial department: Barbara Denz | Producers: Tatjana Studio Minsk, ABC-Studio, Bremer Institut Film/Fernsehen Produktionsgesellschaft mbH (BIFF, Bremen) | colour + b/w | 35mm | 74 min | russ. OV with german SUB

"Do you have children?" Ella Milova and Irina Pismennaja ask a woman worker somewhere in the former Soviet Union, as she skins a cow. Of course she does. The camera focuses on the pools of blood on the floor. The following sequences lead into a delivery room, interspersed with working and birthing conditions in a Tajik cotton region: women in the former Soviet Union. [...] Sixty per cent of all hard (unskilled) physical labour is done by women – for instance in road construction, where the most important safety measure is to wear orange vests so they’re clearly visible. These vests provide the film with its title [...]. Though they work to the point of exhaustion, the women still fare very badly. Their most frequent comment is “We’ve gotten used to it.”
The double burden of women in formerly socialist countries is well documented. Milova and Pismennaja report on it because their female friends in the west are a bit dense. The filmmakers say that their West German colleagues’ most frequent question is “Why can’t you talk about love?” Their film provides the answer: “We wish we had your worries.”
(Friederike Freier, taz, 19 February 1993)

A film letter about women’s work, equality, and also love, written in the former Soviet Union to German colleague Helke Sander. "You know, the longer we flew, drove and made films, the more I was convinced you were right: men created this world for themselves." (Edition Salzgeber)

In cooperation with goEast – Festival of Central and Eastern European Film

WED, 04-20-22

6.30 pm

Murnau Filmtheater, Wiesbaden