Contains mentions of murder, death
Camille, a very small girl, and the Chameleon who is afraid of heights are inseparable and love to play hide-and-seek in the forest. Camille loves to literally call the tune with her whistling. But one day she becomes too cocky and gives Chameleon an idea that will upset everything. Now they are lost in the green thicket. Can they get over their pride and find each other again?
Lina Dinkla
Sam, a grumpy raccoon, must share a prison cell with Bob, a loveable, but somewhat slow-witted manatee. Their chaotic prison break gradually reveals Sam’s soft core, while Bob remains unfailingly loyal to Sam. Will they manage to escape? Suddenly, that no longer matters so much, since together they have already experienced something much better: solidarity. A cute plasticine animation you will absolutely love.
Lina Dinkla
Everyone who longs for tenderness is welcome aboard the Pompelmo Express, a huge pink rocket ship. Together with a number of diverse passengers who shimmer in all the colours of the rainbow, Delfino, Rita and Zenf journey through the cosmos of possibilities. While a party rages on in the spaceship, Zenf discovers a fiery comet through his huge telescope. At an atmospheric tea party, Delfino falls head over heels in love with Carlos, and Rita begins to quarrel with her body. The infinite expanse and warm darkness of space envelop the friends benignly and offer a space to live out the most varied needs. “Say goodbye to your lonely days.”
Franka Sachse
Contains depictions of nudity
Three butterflies are absorbed in their graceful ballet routine, skilfully turning one pirouette after the other. They ignore the clumsy caterpillar that would really love to dance with them. Only the smallest butterfly reaches out a hand. What a surprise when the caterpillar pupates and hatches! Another episode of the KiKA show “Lenas Farm”.
Lina Dinkla
“El primer año” documents the first year of the Unidad Popular: the rude awakening of the ruling classes of Chile as they are faced with the democratically elected socialist government. From the immediate economic sabotage of the right wing through celebrating workers, the situation of the Mapuche, the agrarian reform, the nationalisation of coal and copper mining and Fidel Castro’s visit, up to the “March of the Pots” by bourgeois women crying for bread, of which they have plenty, the cycle of achievements and difficulties is complete. Besides their journalistic interest, Patricio Guzmán and his collaborators sought to capture the atmospheric aspect of the departure towards a fairer society under Salvador Allende, which is what makes “El primer año” such a moving document of its time. Chris Marker offered to produce a French version with the help of the SLON film collective, which is preceded by photographs by Raymond Depardon, accompanied by a foreword on the history of Chile. Guzmán continued his work on the chronicle of events until he was forced to leave the country after the military coup of 11 September 1973. It was only in Cuban exile that he was able to successively finish his masterpiece “La Batalla de Chile” (1975-79) together with Pedro Chaskel. Each of its three parts was acclaimed at the International Leipzig Documentary and Short Film Week and the Berlinale Forum.
Florian Wüst
Romantic, mystical, folkloristic: Theodor Kittelsen's (1857–1914) oeuvre as a painter is not just dedicated to nature but also to legends and trolls – and has influenced artists to the present day. Natasha Nikitina for example, whose film takes up Kittelsen's twelve-part series of pictures "Soria Moria Palace" and his eponymous book: The young hero Askeladden sees the golden palace of Soria Moria in the distance and sets out to reach it; an allegory of the golden future that can be earned with a lot of hard work and dedication. In her film, however, Nikitina focuses more on the atmospheric element, letting a troll in a rock wake up and fall asleep again, letting geese and other birds take flight, letting fog and dusk turn into night and back into a glowing morning. A tribute to the artist, but also to the myth-enshrouded Norwegian landscape in general.
Marie Ketzscher
