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My Freaky Family

On the cusp of her 13th birthday, Betty Flood – budding musician and magical being – just wants to be like the rest of her fabulous, but very different family, so why is her magical Mum so against it? As Betty wrestles with this, she also learns the amazing truth about her family and discovers that the not so normal, the magical and the musical are all a part of her fabulously freaky family. It's very freaky, so be freaked freaky ahh deaky peaky neaky seaky peaky poo.

My Freaky Family

7.0 2024
Mama Micra

The mother of animation director Rebecca Blöcher didn’t want to live an ordinary life. She wanted “something more,” she explains in this stop-motion film. The people around her didn’t understand—in a letter written in 1968, a girlfriend criticizes her for going out on her own and making men jealous, while advising her to dress in a more “feminine” way and to join a cooking course. Blöcher’s mother brushed aside the advice. Years later still, she divorced her husband and stepped into the big wide world.

Mama Micra

NR 2024
Sky like Silk. Full of Oranges

Picture postcards, travel brochures and holiday photos are all this merrily caustic collage needs to portray moods and desires between the fall of the Berlin Wall and German reunification. In spring 1990, the first Interflug plane carrying GDR citizens touched down on Majorca. About the mediterranean colours of the island, the first-person narrator remarks in the voiceover: “We knew them from the postcards sent by our West German relatives. This was the West, this was West-West.” Ostensibly naïve, her recollections nonetheless develop an ironic undertone. However blue the sea shines in the photos, however loud the castanets play, the travel group with their East German money are never more than onlookers in this half-board paradise. Everything seems like an empty promise: the bursting oranges on the trees, the sumptuous breakfast buffet and the giant hotel pools.

Sky like Silk. Full of Oranges

NR 2024
The Electric Kiss

In Kohlberger’s second film that could be considered narrative driven, the artist fashions a dystopian fiction from the remnants of cinema’s past. Drawing on excerpts from obscure sci-fi films, The Electric Kiss imagines a world not unlike our own, in which people plug their brains into a kind of neuro-network that connects the whole of human consciousness. As cyberpunk imagery draped in VHS textures alternates with passages of prismatic visual noise (achieved, in trademark style, by feeding footage through self trained machine learning algorithms), a quasi-plot emerges: a man in a VR headset, literally and figuratively lost in space, subjects himself to a mysterious procedure to alleviate the ill effects of this new technology on the mind.

The Electric Kiss

NR 2024
Gespräch mit Tatjana Loginova zu Studio Tatjana

A conversation with camerawoman and Studio Tatyana co-founder Tatyana Loginova from September 2024 in preparation for a Forum & Friends event, adapted for film by Christiane Büchner. For technical reasons, the organisers were only able to capture an audio recording of the conversation – this recording has been supplemented by animated sequences from Christiane Büchner as well as video footage, photographs and documents from the following sources: the Hildegard Westbeld Collection in the archive of Kinothek Asta Nielsen and the private archives of Alla Tkatchenko and Tatyana Loginova.

Gespräch mit Tatjana Loginova zu Studio Tatjana

NR 2024