Kwok Yun is an agricultural worker in China, single and not too happy with her life. One day she suffers a circulatory collapse which enters the village’s chronicle as a UFO sighting. The communist mayor of the village appears ready for the new times as she designs a UFO-sighting-monument and builds hotels. Tourism’s/Capitalism’s marching in is triggered in the region. An absurd sociocritical satire about today’s China, and by the way: Udo Kier has an appearance as American.
In order to kill the US president on Christmas day, a German UN General hands over Hitler’s V2 missile to an African dictator. His wife has an affair with an Austrian bishop who has been excommunicated due to child abuse. She gets pregnant and gives birth to a black boy named Jesus Peter Panne. A surgery made by a doctor who was trained by Josef Mengele failed. Because of that the child carries a gigantic vagina on his head. The natives worship him as saviour and besides he helps the dictator to fly to the United States.
VACANCES AU PAYS ist das Filmtagebuch einer Reise und Rückkehr. Der Filmessayist Jean-Marie Téno kommt nach Jahren der Abwesenheit in seine Heimat Kamerun zurück, begibt sich auf die Suche nach der Vorstellung von Modernität, von der sein Volk besessen ist. Mit spitzer Zunge und Ironie, Traurigkeit und Betroffenheit spürt Téno einen Begriff von Entwicklung, von Fortschritt auf, der in seiner Heimat „tropische Modernität“ genannt wird und letztlich nur meint: Alles, was aus Europa oder Nordamerika kommt, ist modern – alles was heimisch, archaisch und traditionell ist, steht dieser Modernität im Wege, muß verschwinden. Jean-Marie Téno wiederholt als Weltbürger und Heimatloser eine Reise, die er als Jugendlicher während der Sommerferien gemacht hatte. Sie führt ihn von der Großstadt Jaunde nach Bandjoun, ins Dorf seiner Eltern und Vorfahren. VACANCES AU PAYS ist eine persönliche Reflexion, das Protokoll einer Betroffenheit über den Drang zur Modernität, über ein europäisch vorgeformtes Entwicklungsmodell und über Autoritätsgläubigkeit. Jean-Marie Téno (1954 Famleng, Kamerun) studierte audiovisuelle Kommunikation in Valencienne. Dokumentarfilme seit 1983, 1996 drehte er seinen bislang einzigen Spielfilm CLANDO (Film Festival Innsbruck 1996). AFRIQUE, JE TE PLUMERAI (1992) gilt bereits als Klassiker des afrikanischen Autorenkinos. CHEF! (1998) war eine harsche Kritik an seinem Land, seiner Kultur, seinen Landsleuten. Lebt und arbeitet in Paris.
in VEVE, but also justice, fatherly responsibilities and love. ‘VEVE’ means the natural drug khat and this debut film revolves around the lives of many Kenyans. Kenzo wants to avenge his father. The power-hungry khat dealer Amos leads an election campaign in the style of Obama, and the farmers organise themselves against his exploitation. At the end, we see that everyone’S lives are intertwined and the power is only borrowed.
Regie: Simon Se’ydou Mukali
94 min, Colour, DCP, Original with German subtitles
Regie: P.H. Schroeder, H.P. Kochenrath
In 1975, the sixty-year-old Ayshe lives in a Turkish fishing village west of Trabzon, where she has been becoming increasingly lonely since the death of her older sister. The neighbor boy Mehmet, to which she has developed a grandmotherly relationship, cares about her. Nobody knows about Ayshe‘s secret: Before her adoption 50 years ago, she was the daughter of orthodox Pontic Greeks who lived in Turkey. Her baptismal name was Eleni. Fifty years after the separation from her brother, she is now willing to explore her roots and find her lost brother in Greece.
Isaac illegally crosses the border into Austria. Very soon he’s the star of a small town’s football team. By chance the Austrian police discover that Isaac’s British passport ist faked. Two Austrian policemen are to take him by plane to Accra. Once there, however, everything goes wrong. Major Makebi, Director of Immigration in Accra, is convinced that Isaac’s deportation order is faked, and since the two Austrian policemen tried to deceive him, he confiscates their passports and forbids them to leave Accra.
In einem Dorfwirtshaus trinkt man sich dem Hinauswurf entgegen, aber da ist einer, der sich an das „trotzdem und weil“ erinnern will, also inszeniert er mit den noch nicht vollkommen Betrunkenen einen astronomischen Tanz der Gestirne, so beginnt Béla Tarrs jüngster Film WERCKMEISTER HARMÓNIÁK, inspiriert von einem anderen Roman Krasznahorkais: „Die Melancholie des Widerstands“.
Regie: Béla Tarr
145 min, 35mm, s-w, OmU
Jimmy Carl Black, legendary drummer of Frank Zappa’s „Mothers of Invention“, lives in a small Bavarian village. “The Indian of the Group“ hardly speaks German and is welcomed in Bavaria with its most beautiful phrase: „Servus, Mr. Black!“ Starting from Höpflinger station, the 70-year-old pensioner tours as drummer and singer through Europe and has to sign the same old Zappa records over and over again for the last 40 years. “Don’t ask me, what the sound is. You have to hear it!“
Regie: Tink Diaz
After a whole life of work at Tijuana, Rafael and Lidia are victims of injustice against their rights and dignity: Rafael learns that due to a paperwork mistake, he will not be entitled to his retirement pension. As for Lidia, she finds out that her employer will leave the entire heirloom to the dog, and that the fortune would only be passed down to the employees should the dog die. In their own way, alone and silently, they´ll begin a battle: Rafael against a company, Lidia against a dog.
Regie: José Luis Valle
120 min, Farbe, DCP, OmdU
Bester Film Split International Filmfestival
In this tragi-comic chronicle about everyday life in Palestine, Elia Suleiman himself plays the taciturn and pretty miserable looking hero with the initials E.S. His fiancée lives on the other side of an Israel control post, so the two lovers can only meet at the checkpoint. Together they observe the world around them in silence. Reality seems more absurd than the best joke. A man dumps his rubbish every day in the neighbour’s garden. A Father Christmas is molested by angry children. A balloon with the face of Arafat cocks a snoot at all the checkpoints and floats over Jerusalem, while on the ground, the soldiers bungle around in an attempt to arrest the balloon. A little later, we see the soldiers exercising on a target in the form of a Palestinian woman. Suddenly a real ninja fighter looms up in front of them. The spectacular and cartoonesque action scene that ensues includes special effects that would not be out of place in The Matrix. Comparisons have already been made with the films of Tati, Nanni Moretti, Otar Iosseliani, Roy Andersson and Buster Keaton, but that would not do justice to the idiosyncrasy of Suleiman’s second feature, that has a sour and melancholy taste in its political and personal element.
A story of cosmogony, an account of the origins of the universe. The film dramatizes this as a process of regeneration, both in the genealogical sense and in the sense of a rising from the ruins. It tells the story of a father’s quest to find and kill his son, and the son’s own journey to gain the powers necessary to fight back. Soma, the father, is fearful of the great supernatural power that his son, Nianankoro, has inherited from him, and summons the destructive forces of the gods to help him find Nianankoro and destroy him.