Zeughauskino

The Zeughauskino, located in the center of Berlin, Germany, presents programs of a special kind that draw from the entire spectrum of film and offer new, often surprising…

Stories

Documentary Positions: Gisela Tuchtenhagen

In 1968, Gisela Tuchtenhagen was one of the first women to begin studying at the German Film and Television Academy Berlin (dffb), which had been founded two years earlier. Already a trained photographer, she develops a concise camera style whose closeness and at the same time respectful distance determine the images in her films. As a result, the filmmaker often remains behind the camera and is exposed to male headwinds despite her qualifications and her uniquely sensitive eye. In 1977,…

Papers Please! - Citizenships and Cinema

Citizenship is a double-edged sword. For while it secures rights and freedoms for those who hold them, it excludes others from participating in them. The medium of film, which established itself as an influential and powerful mass medium in the early 20th century, served early on to communicate with citizens, which could include propagandistic intentions. The retrospective accompanying the exhibition "Papers Please! Citizenships and the Cinema", focuses on three countries: France, Poland and Germany. It takes an exemplary look at…

Zbigniew Cybulski - The Man Who Never Arrived

Zbigniew Cybulski was not a man of fast sports cars, he drove the Polish state railway. Like his fellow citizens, he used the rickety wagons that ran over the tracks that had been makeshiftly patched up after the war. And which therefore almost never arrived and departed on time. That's why you could take your time on the way to the station, because you could always jump on if necessary. Strangely enough, there are several films in which Cybulski jumps…

Hoffmannesque. Tracing E.T.A. Hoffmann in Cinema

Gripping stories, the mystical and the strange, automata, horrible creatures and bizarre fantasy creatures meet saints and sinners. Anyone who loves the fantastic cannot ignore E.T.A. Hoffmann (1776-1822). He was a writer, composer, bandmaster, draughtsman and lawyer all in one. The whimsical, grotesque worlds and bizarre character creations of the Romantic form a veritable treasure trove for film: this is where horror meets thriller, fantasy meets comedy and opera meets dance. Ever since the pictures learned to move, filmmakers have…

Casually at the Abyss

The New Munich Group represented one of the most interesting currents in West German cinema between 1964 and 1972, not least because it swam against the mainstream, against the films that film historians commonly refer to as the "New German cinema". This designation of the so-called "Oberhausener" - and then, in the 1970s, of the "New German Cinema" - took place not least at the expense of the New Munich Group. For after a few commercially successful films (Go For…

A Life's Œuvre and Liebestod - Richard Wagner and Cinema

Richard Wagner (1813-1883) would have loved the medium of cinema for sure, cinema in the sense of a "Gesamtkunstwerk" (total work of art, a life's Œuvre), with all its colour explosions, equipment excesses, sound collages and monumental wide-screen images, even if Wagner's understanding of art often has anti-modern traits. Yet the cinematograph had not yet been invented in Wagner's lifetime, and film recordings of him exist just as little as of contemporary performances of his works. All the more extensively,…

This Is Just the Beginning - Karl Marx and Cinema

The delusion of the masses or a means of enlightenment par excellence? Since its beginnings, film has been the subject of ideological disputes and appropriations like hardly any other medium. Left-wing struggles and theories in particular play a specific role in this dispute about and in the cinema - be it as a consumable commodity in the cultural pessimistic reflections of the Frankfurt School or as a site of lively resistance in feminist and postcolonial appropriations.

Berlin Visions

Before and after 1989, the "Wall City" Berlin is one of the most dazzling metropolises in the world. But what part do media images play in this fascination? The film series Berlin Visions, analogous to the book edited by Marcus Stiglegger and Stefan Jung (Martin Schmitz Verlag, Berlin 2022), examines how feature films have made the city what it is today: a paradise for subcultures, a political stronghold, a crime scene and a party capital.

Recent reviews

Wir wiederholen den Film am Dienstag, 27.9., um 20 Uhr

Wir wiederholen den Film am 23.10. um 18 Uhr

Wir wiederholen den Film am Donnerstag, 22.9. um 20 Uhr!

Wir wiederholen den Film am 8.10. um 18 Uhr!

Liked reviews

Falls completely flat in every regard. While the protagonist has some charm as the stuffy old man who’s nagging everyone, but becomes whiny when things doesn’t exactly go as he wants, the movie fails to provide any real plot for him as a challenge which would then make a story which would than maybe make a decent movie. It’s the fourth film with Völz as the protagonist and by now we know everything about him, so his ways don’t provide…

Often smoother than DIE PRIVATSEKRETÄRIN on a scene by scene basis (and especially when it comes to transitions), yet Renate Müller does not seem to feel completely comfortable with her English language lines, and while Jack Hulbert tries his best with his slapstick routines, he just cannot for a moment make up for the absence of Bressart.

A mockumentary-flavored feature following some faceless journalist as he tries to piece together the story of an arcane German director who had just before come into cine spotlight with the Berlinale showing of a rediscovered silent.
The (good) pre-screening introduction that laid out the April Fool's origins of the film promised something far more wackier, but this really comes close to the dullest possible version of itself.
While there are traces of laconic humor and the tolerable kind of undemanding,…

Vereinzelte Kamerafahrten, die die Massen an Frauen zeigen, die am Fenster singen, in ihren Betten schlafen, alle in ihren monotonen Rahmen und Umgebungen - haben sie alle im Gegensatz zu Wilma doch die Realität akzeptiert - aber bleiben dennoch alle einzigartig in ihren Kleidern, ihren Frisuren, ihren krummen Haltungen an der Schreibmaschine. Aus ihnen wird die Wilma zusammengeklaubt, die zum Bankdirektor passt, ein paar feine Handschuh hier, ein Mantel dort. Wilma ist eine von ihnen, aber mit einem Ziel.
Viel…