Programme: Fixed stars of queer cinema

The history of queer cinema and the history of lesbian women in the cinema are focal points of the programme. We will screen a series of films, among them seldom-seen features such as Olivia (Jacqueline Audry, 1950), I, the Worst of All (María Luisa Bemberg, 1990), The Ballad of Little Jo (Maggie Greenwald, 1993), Flaming Ears (Ursula Pürrer, Dietmar Schipek, Ashley Hans Scheirl, 1991).

Guests include Su Friedrich, Monika Treut.

With daytime programme queer cinema – „mon ciné“ festival manager Karola Gramann and B. Ruby Rich will guide through the festival's friday.


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


© Adventure Pictures

GB, RU, IT, FR, NL 1992, D, SC Sally Potter based on the novel by Virginia Woolf, C Aleksei Rodionov, E Hervé Schneid, M David Motion, Sally Potter, S Kant Pan, P Christopher Sheppard, Adventure Pictures, Cast Tilda Swinton, Billy Zane, Lothaire Bluteau, John Wood, Charlotte Valandrey, Heathcote Williams, Quentin Crisp, Toby Jones, Print colour, DCP from 35mm, 94 min, engl. OV, Adventure Pictures

In the role of handsome squire Orlando, Tilda Swinton starts out by experiencing the decadence of 16th-century Elizabethan court life first-hand. Soon a protégé of the queen, he attempts to build a life upon love, poetry, politics and melancholy, before subsequently shedding his skin and repeatedly morphing into a new person with each new disappointing experience, each time through an invariable seven-day slumber in a process spanning four whole centuries. In the course of one of these fantastic transformations, Orlando becomes a woman. Swinton sizes up her naked image in the mirror with curiosity: “The same person, just another gender,” she states cheekily, and sets off to discover the joy and pain of the other side of the gender divide – namely, female desire and the constricting nature of the role – until she gives birth to a baby girl and brings the experience of the world as a man and a woman into balance as a new person, a defiant “self”. Sally Potter has taken Virginia Woolf’s feminist novel-essay and turned it into an elegantly choreographed work of cinema, one full of wit, poetry and unobtrusively implied depth of meaning. (Günther Bastian,, 1993)

FRI 29.11.19


Pupille – Kino in der Uni


© films du jeudi

FR 1950, D Jacqueline Audry, SC Colette Audry based on the novel Olivia by Dorothy Bussy, C Christian Matras, E Marguerite Beaugé, M Pierre Sancan, S Jo de Bretagne, P Jacqueline Audry, Jean Paris, Memnon Films, Cast Edwige Feuillère, Simone Simon, Marie-Claire Olivia, Yvonne deBray, Suzanne Dehelly, Print b/w, DCP from 35mm, 95 min, french. OV +engl. SUB, Les Films du Jeudi

A boarding school for young women in France: rectors Julie and Cara, apparently lovers, are engaged in friendly competition for their students’ favour. When the young English student Olivia is sent to live at the facility and subsequently falls in love with Julie, the flirtatious game escalates.

„If lesbians can be considered, of necessity, as well as by choice, the most independent of women, then Olivia is the film that demonstrates most strongly Audry’s preoccupation with women and their search for self-realisation. She is content to observe rather than to condone or criticise, though she is evidently sympathetic to the problems her characters face.   The women who appear in this film are, for her, simply another part of society, albeit one which had usually been ignored, and one which has its own problems and rewards.“ (Elaine Burrows, Festival Publication Views of History, 2019)

FRI 29.11.19


Pupille – Kino in der Uni

Yo,Yo, la peor de todas / I, the Worst of All

AR 1990, D María Luisa Bemberg, SC María Luisa Bemberg, Antonio Larreta based on the novel Sor Juana Inés de la Cruz o las trampas de la fe by Octavio Paz, C Félix Monti, E Juan Carlos Macías, M Luis María Serra, S Jorge Stavropulos, P José Luis Garci, Lita Stantic, GEA Cinematográfica, Cast Assumpta Serna, Dominique Sanda, Héctor Alterio, Lautaro Murúa, Graciela Araujo, Alberto Segado, Gerardo Romano, Franklin Caicedo, Print colour, 35mm, 105 min, spanish OV +engl. SUB, Museo del Cine de Buenos Aires

The story of a Mexican nun, scientist and poet living in the era of the Spanish Inquisition. The film is the fifth realised by 65-year-old filmmaker María Luisa Bemberg, who made her first at the age of 60. Yo, la peor de todas is the name of the film. The nun is under the protection of the Viceroy of Mexico – and that in spite of the fact that her love poems are inspired by his wife. The film manages to avoid any and all clichés, while circumventing the expectations and fears of its audience. The nun proves to be stronger than the archbishop, her adversary; the threats and invocations of the Catholic church are weaker than the nun’s thirst for knowledge. She vanquishes the man of the church, only to be vanquished herself by time, by the long duration of her resistance and, finally, by the plague. (Lore Stefanek, prisma, No. 2/1990)

FRI 29.11.19


Pupille – Kino in der Uni

The Ballad of Little Jo

US 1993, D, SC Maggie Greenwald, C Declan Quinn, E Keith Reamer, M David Mansfield, S Felipe Borrero, P Fred Berner, Brenda Goodman, Joco Productions, Cast Suzy Amis, Bo Hopkins, Ian McKellen, David Chung, Heather Graham, René Auberjonois, Carrie Snodgress, Anthony Heald, Melissa Leo, Print colour, 35mm, 120 min, engl. OV

Suzy Amis plays Little Jo, a character based on an actual woman (Josephine Monaghan) who lived as a man in the nineteenth century and worked as a cowboy and sheep tender. The screenplay of the Ballad of Little Jo, written by Maggie Greenwald, is designed to counterbalance years of sexist portrayals (or omissions) of women in the American West. Little Jo is abandoned by her family after she gets pregnant (out of „wedlock“). She survives an attempted rape and decides that the only way to live free is to live as a man. Greenwald deconstructs male gender identity through the vehicle of Little Jo’s cross-dressing. [...] The Ballad of Little Jo is a down-beat, almost noirish vision of the West, though it does show a sense of humor. The women have the last laugh, literally and figuratively, in the final unveiling of Jo [...]. (Gwendolyn Audrey Foster, Women Film Directors: An International Bio-critical Dictionary, 1995)

We dedicate this film to our longtime-friend and compagnion of the Kinothek, Brigitte Axster (3.6.1939 – 23.8.2019)

FRI 29.11.19


Pupille – Kino in der Uni

Rote Ohren fetzen durch Asche / Flaming Ears

© Dietmar Schipek

AT 1991, D Ursula Pürrer, Dietmar Schipek, Ashley Hans Scheirl, Cast Susanna Heilmayr, Ursula Pürrer, Ashley Hans Scheirl, Margarete Neumann, Gabriele Szekatsch, P Loop TV-Video Film Produktion, Print colour, DCP from Super-8, 84 min, german OV with engl. SUB, sixpackfilm

Angela [Ashley, editor's note] Ursula Pürrer and Dietmar Schipek are the names of the team behind this film, veteran Super 8 and video pirates, ritual deconstructers of cinematic forms. Rote Ohren fetzen durch Asche, which took them two years to make, employs a rough plot as a framework to be adorned with the artists’ nightmarish designs, painted sets and surreal objects. A pyromaniac named Volley strolls through the night, wantonly setting objects and dwellings ablaze. Spy, a comic book artist and one of Volley’s victims, becomes a violent loner while plotting to exact her revenge. And sinister Nun, Volley’s lover and an enthusiastic consumer of reptiles, is impending red-leather-clad betrayal for her fire-friendly companion, as she morphs into Spy’s accomplice. [...] Lovely stops along the way: apocalyptic depravity, audio tracks full of pulsing synthetic noise, the absolute physical commitment of the performers and stop-motion animation effects. (Stefan Grissemann, Die Presse published 20.03.1992)

Followed by a conversation with the directors Ashley Hans Scheirl, Ursula Pürrer, Host: Katja Wiederspahn

FRI 29.11.19


Pupille – Kino in der Uni

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

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