A father, an unemployed academic, who hardly suits to be a hero, is meant to take his 8-year-old son from the injust regime in Argentina into freedom, in order to guarantee a better life for him. AMIGOMÍO is a road movie. In two ways. The story of escape and a journey through inner landscapes. The present and the past connect, political commitment meets poetic realism. AMIGOMÍO is a film of pictures. Pictures that approach you like a punch in the face, pictures that overwhelm and free you at the same time.
Anna Kastelano is packing up the home that once belonged to her family on a Greek island. She is considering putting it up for sale. However, in these familiar surroundings, she is revisited by memories of her own past and that of her Sephardic Jewish family.
Regie: Jeanine Meerapfel
107 min, 35mm, 1:1.85, Dolby SR, Farbe, griech.-franz.-engl.-span.-dt. OmU
Tens of thousands of people were captured, tortured and murdered in Argentina between 1976 and 1982. How to deal with these facts? What effect can a film have against the horror of the past? Is it enough to document crime and to commemorate the victims, or can a film contribute to the rehabilitation of the past in other ways? DESEMBARCOS, which is the result of a workshop with film students, tries to answer these questions and documents the development of a culture of remembrance.
Regie: Jeanine Meerapfel, Alcides Chiesa
74 min, DCP, OmU
The integration debate in Germany in 1985: Melek, a 38-year-old Turkish woman, is fed up. After fourteen years she leaves Berlin and returns back home. Even though she does not fulfill any of the expected clichés of “the Turks” that there were back then, she has never really felt accepted in Germany. Jeanine Meerapfel portraits a strong woman and analyses stereotypical ideas and racist attributions. Definitely a document of the time. But more up to date than ever.
Regie: Jeanine Meerapfel
88 min, DCP, dt. OF
A career woman with Yugoslavian roots and a sophisticated musician, whose father was stationed in the Balkans during World War II, meet in Yugoslavia. She feels like a stranger and feels damned to be homeless, and he finds it hard to deal with his father’s Nazi past. They pretend to be in love in front of their parents and go on a journey through Montenegro: a touching love story. DIE VERLIEBTEN shows damaged identities and broken existences, but on top of all it opens a look at a landscape of aspiration that very soon got torn to catastrophe by fanaticism and profiteering.
Jeanine Meerapfel tells us the story of Sulamit and Friedrich. She is Jewish, he is German, and both are the children of post-war immigrants in Argentina. Trying to come to terms with their parents’ past, they separately go to Germany and find each other amidst the political turmoil of the 1970ies. Meanwhile in Argentina the military dictatorship takes over the country and Friedrich wants to go back to join the revolutionary left. It is a tale about how the political takes over the private in a time when some think it is the same. A love story between two people in which history is the third party.
„If Hitler had not existed, I would have become a German-Jewish child, more German than Jewish, born in a small southern German village. But I was born in Argentina, my native language is Spanish. In 1960 I moved to Germany.“ This is Jeanine Meerapfel‘s baseline, from which she begins her search for the roots of her own Jewish identity, a search that will confront her with German reality that she keeps finding. So she tracks down the question of what it means today to live as a Jew in Germany by presenting subjective and objective realities.
wo girls promise each other to remain friends. One of them, Raquel, becomes famous, the other, Maria, becomes a wife and mother. Both are what one could call happy. Suddenly Marias oldest son disappears: he is captured by the Argentinian army – a desaparecido. Together the two friends go looking for him and become more and more distant from each other. Jeanine Meerapfel portraits resistance in a time of palsy, avoids black and white portrayal and sets a monument to the “madres de la plaza de mayo”.
In Jeanine Meerapfel’s debut film, a troubled restless woman named Hannah sets out to find out more about her mother Malou. It takes her back into the pre-war French- German border region where Malou, played by Ingrid Caven, married a rich Jewish merchant and had to flee with him to Argentina at the eve of the Second World War. In exile she fails to adapt to yet another new life and struggles to bring up her daughter. 30 years later in Berlin, Hannah does not know where she belongs either. This intertwined story of identity, filmed by Michael Ballhaus, won the 1981 FIPRESCI prize in Cannes.
In Mosconi, einer Kleinstadt im Norden Argentiniens, wird eine Union arbeitsloser Arbeiter gegründet. Mosconi gilt als Paradigma für das, was man heute unter Verlust von Staat und Politik versteht. Waren vor der Privatisierung des staatlichen Erdölkonzerns 95 Prozent der Bevölkerung beschäftigt, so stieg die Arbeitslosenquote danach auf 70 Prozent. Doch nicht nur die traditionellen Arbeitsverhältnisse lösten sich auf, sondern das gesamte System infrastruktureller Versorgung. Heute kann sich die Mehrheit der dort lebenden Bevölkerung nicht einmal eine Gasflasche leisten.