Sotiris is a police interrogator. He has an obsession: he needs to be fair. He judges the suspects after his personal morale and against the law. With the intention to save another innocent soul, he accidentally kills a security guard. Dora, a lonely cleaning lady who leads a breathless life trying to make ends meet, is the only witness to the crime. Although Sotiris and Dora like each other, love, honesty and justice are anything but easy to combine.     Greece 2012 Regie: Filippos Tsitos 107 min, 35mm, OmeU


A murder in a remote village in northern Greece. The victim: A man who had recently returned home after spending years in Germany earning money to sustain his family. The suspects: The victim‘s wife and her lover. The investigation brings up different versions of the story. Thematically Angelopoulos‘ first feature film resembles Kurosawa‘s Rashomon and Bertolucci‘s La Commare Secca. But as in the American film-noir the filmmaker is rather interested in the social conditions leading to the crime than in the (pointless) search for the culprit. Greece 1970 Regie: Théo Angelopoulos 110 min, 35mm, OmU


Ein alter Mann kappt die Verbindung zu dem, was einst sein Leben war. Auch eine junge Frau, die er am Straßenrand aufliest, weckt seine Lebensgeister nicht mehr. Lediglich Panik löst das Mädchen im Alten aus. Sie will um ihn, der sich verloren wähnt, kämpfen. In einem alten Kino liebt sich das Paar. Dann packt das Mädchen ihre Sachen und der Alte geht in den Tod. O MELISSOKÓMOS – so Walter Ruggle – handelt davon, „dass die Vergangenheit allein für die Zukunft nicht reicht und dass die Zukunft ohne Vergangenheit auch nicht einfach ist“. Vor allem aber, möchte man hinzufügen, ist O MELISSOKÓMOS ein Lehrstück in Sachen Sehen. Griechenland/Frankreich/Italien 1986 Regie: Théo Angelopoulos 122 min, 35mm, OmU


Ein Dichter, erklärt der, der es wissen muss, ist einer, der Wörter kauft, unvertraute, unbekannte, aber edle und wohlklingende Wörter. Einer, der seine eigene Sprache als fremde wiederentdeckt. Doch dem, der das einem kleinen Jungen beibringt, sind die Worte ausgegangen, und kein verkaufswilliger Wortklauber ist in Sicht. Sein Projekt, ein Poem aus alter Zeit zu beenden, bleibt also Fragment. Der Dichter hat Krebs, verbringt seine letzten Tage in Thessaloniki, er misst Lebens- und Gedankenräume aus, imaginiert, erinnert sich seiner Träume… Griechenland/Frankreich/Italien 1998 Regie: Théo Angelopoulos 130 min, 35mm, OmU


Category: IFFI 2013, Hommage: Théo Angelopoulos TO LIVÁDI POU DAKRÝZEI is the first part of an unfinished trilogy. Set between 1919 and 1949 its great visionary images sometimes become tableaus filled with both pathos and beauty while speaking of dark days: world war, civil war, military junta. It all centers around one woman: Eleni who came as an orphan from the Greek exclave Odessa to Thessaloniki and was driven from there by the Greek Civil War, she has to go through all that „great history“. Greece/France/Italy 2004 Regie: Théo Angelopoulos 162 min, 35mm, OmU


A poet, claims he who must know, is someone who buys words – unfamiliar, unknown, yet precious and harmonic words. Somebody who can recognize his own language as strange. But the one who explains this to the little boy has run out of words and there is no collector or salesman around to sell him some, so his project of finishing an old poem is to stay a fragment. The poet is sick with cancer and spends his last days in Thessaloniki imagining, remembering his dreams… Greece/France/Italy 1998 Regie: Théo Angelopoulos 130 min, 35mm, OmU


In a remote village in east Anatolia a 17-year-old unconscious girl is found. She has lost her virginity and her family locks her up in a cabin. Her stepmother throws a rope at her and says: „You know what you have to to.“ They confide her to her cousin Cemal, an ex-soldier, and put them in a train to Istanbul. The girl is not supposed to ever arrive there. But things take a different turn. Turkey/Greece 2007 Regie: Abdullah Oguz 126 min, 35mm, Farbe, OF mit dt. UT Kerala Film Festival 2007, In Kooperation mit InterKulturTage


An old man leaves his life behind and goes on his last journey. Not even the young woman whom he picks up by the roadside can revive his spirits. Panic is all she causes in him wanting to save him, who thinks himself lost. The couple makes love in an old cinema. Then she leaves and the old man goes to his death. O MELISSOKÓMOS tells „that only the past is not enough for the future and that future without the past isn‘t easy either“ writes Walter Ruggle. But most of all, one would want to add, is O MELISSOKÓMOS a lesson in „seeing“. Greece/France/Italy 1986 Regie: Théo Angelopoulos 122 min, 35mm, OmU

Powder Keg – Bure Baruta

Book-ended by a cabaret-style master of ceremonies, the film is a stark illustration of the hell-hole that Yugoslavia has become as it follows assorted characters (some of whose paths eventually cross) during a freezing winter’s night in Belgrade. A young man who accidentally crashes into another car is assaulted at home by thugs; a policeman, whose body has been badly broken, faces the man who beat him up; a desperate bruiser murders his best friend with a bottle before killing himself and a troubled girl with a grenade and, as with most other scenes, there is a lot of pointless, uncontrolled violence. JUG, MAZ, F, GR, TRK 1998 Regie: Goran Paskaljević 100 min, Colour, 35mm, Original with German subtitles FIPRESCI Award – Venice IFF 1998 FIPRESCI Award – European Film Academy 1998 Grand Prix (Golden Anchor) – Haifa IFF 1998 Grand Prix (Golden Orange) IFF 1998 Bronze Camera 300 (Milan Spasić) – ICFF Manaki Brothers 1998 Film of the Year in Yugoslavia Voted


n Mord in einem entlegenen Bergdorf im Norden Griechenlands. Das Opfer: Ein gerade zurückgekehrter Heimatferner, der sich den Lebensunterhalt für sich und seine Familie als Gastarbeiter in Deutschland verdiente. Die Verdächtigen: Die Frau des Opfers und ihr Liebhaber. Eine Untersuchung beginnt. Unterschiedliche Versionen prallen auf einander. Angelopoulos erster Langfilm erinnert thematisch an Rashomon von Akira Kurosawa und Bernardo Bertoluccis La Comare Seca. Doch wie im amerikanischen Noir sind es eher die sozialen Bedingungen die zur Bluttat führen und weniger die (zwecklose) Sucthe nach dem Täter die den Filmemacher interessieren. Griechenland 1970 Regie: Théo Angelopoulos 110 min, 35mm, OmU


Sarajevo City of Film is the fund supporting the realization of short micro-budget films, created through artistic and technical cooperation between the young film authors from South-Eastern Europe. In this way the Sarajevo Film Festival wants to initiate the creation of a new network of young talented and creative authors of the region whose work represents the future of the regional cinematography.   FRIGIDANCE Kelmend Karun, Bosnia-Herzegovina/Albania 2010, 9 min SMART GIRLS Hana Jušić & Sonja Tarokić, Bosnia-Herzegovina/Croatia 2010, 24 min REVERSE Georgis Grigorakis, Bosnia-Herzegovina/Greece 2010, 19 min THE TICKET COLLECTOR Catalin Musat, Bosnia-Herzegovina/Romania 2010, 24 min BA/AL/HR /GR/RO 2010 Regie: Kelmend Karun, Hana Jušić & Sonja Tarokić, Georgis Grigorakis, Catalin Musat 76min, Video, Farbe, OmeU

Someone Else’s America – Tudja America

The story revolves around Alonso, a Spaniard and owner of the “Paradiso” , a run-down bar where he lives with his blind mother and his friend Bayo. The best of friends, Alonso and Bayo are united in believing that they will succeed in the ‘Land of Opportunity’, despite much evidence to the contrary. Bayo’s family then follows him to New York, but his beloved youngest son is drowned during the dangerous journey. Unable to cope with his grief, Bayo blames his eldest son Luka for the tragedy. Luka, however, turns out to be the salvation, transforming “Paradiso” into a trendy ethnic restaurant. JUG, GB, F, D, GR 1995 Regie: Goran Paskaljević 95 min, Colour, 35mm, Original with English subtitles Cannes IFF 1995: Audience Award, Quinzaine des Réalisateurs


„Sometimes one has to keep quiet in order to understand the music“ says a politician and leaves. Shortly afterwards he is pronounced dead. A young TV reporter believes to recognize him in a poor man near the Greek-Turkish-Bulgarian border. He senses a story and brings the politician‘s ex-wife into the barren area where soldiers guard not so much the borders but the forgotten individuals. It is a meditation on inner and outer migration, a narrative of lost hopes. Greece/France/Italy 1991 Regie: Théo Angelopoulos 143 min, 35mm, OmU


In TO VLEMMA TOU ODYSSEA a Greek-American film maker (Harvey Keitel) returns home after decades and is shocked by the state of Eastern Europe. He goes on a quest looking for three missing film rolls by the Manakia brothers who recorded Balkan everyday lives on film at the beginning of the 20 th century. His journey leads from Albania through Macedonia, Romania and Bulgaria and ends in Sarajevo. An odyssey through a part of Europe that is marked by war.   Greece 1995 Regie: Theodoros Angelopoulos 176 min, 35mm, Farbe, OF mit dt. UT

UNDER THE STARS (Kato apo t’ astra)

Category: IFFI 2004, EUfilm The film is a road movie centring around two Greek Cypriots whose lives have been torn apart by the Turkish invasion of the island in 1974. Cyprus/GB/Gr 2001 Regie: Christos Georgiou 87 min, 35 mm, Farbe, griech.-türk. OF mit engl. UT

Waiting for the Clouds

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. FR/DE/GR/TR 2004 Regie: Yeşim Ustaoğlu 94 min, 35mm, Colour, OmdU