Girls, girls, girls
Philip Stadelmaier: In Alli Haapasalos trendy coming-of-age film, three young friends in Finland are looking for love and (very) good sex. Two are on the queer spectrum, one is into boys but may be asexual. Everything is possible, everything is complicated. A Movie for and about the young generation, in which questions are always asked before each act. Despite all the openness of the orientations, the turns remain predictable and the images superficial.
Doris Kuhn: Siri is always listening. That can be good or bad, in this film that’s the last hope. The fast-paced desktop thriller by Will Merrick & Nicholas Johnson shows the extent to which information technology intervenes in everyone’s everyday life, which can be viewed in detail here. The story is about the search for a woman whose digital traces become visible across continents and years in the past. This not only follows a surprisingly exciting journeybut also a sobering one: Does anyone think anonymity still exists?
Rosy – Giving up doesn’t count
Fritz Goettler: The eyes sparkle, the hands are always in motion, the face contorts into a smile or a grimace, the whole body is in full use, overexcited when Marine Barnérias told… but only because this very body could desert her at any moment: she was diagnosed with multiple sclerosis at 21 and warned of the flare-ups that will make her disease worse. So Marine took on a project, a research cruise. She wants to bring back together what fell apart, the body, the mind, the soul – in New Zealand, Myanmar, Mongolia. She drives alone, fights, takes pictures of herself and the world with her smartphone. A dialogue with the disease, which she no longer calls sclerosis, but Rosy. And a really fantastic film that takes us back to the origins of cinema and at the same time to a future that is open to it.
Anna Steinbauer: The first time, they are still emotional and hopeful when the doctor opens the syringe with the expensive sperm and inserts it for insemination. After the umpteenth failed attempt, they are just frustrated: Omer and Bar are a lesbian couple in hip Tel Aviv and desperately want a child. What challenges and burdens this means for the relationship, psyche and environment of the two sets Astar Elkayam intense and haunting in her debut with two great protagonists.
When will it finally be like it never was
Josef Gruebl: Inventing means remembering, writes Joachim Meyerhoff in his book of the same name. The actor and author may no longer remember what it was like as the son of a North German psychiatric director. But it reads very well. Sonja Heiss maintains its anecdotal-episodic structure in the film adaptation of the bestseller. With a lot of heart, dry humor and great actors she brings Meyerhoff’s childhood memories to life, even if not all of them are hilarious. But it looks very good.
What’s Love Got To Do With It?
Anke Sterneborg: Where is the love here, asks Shekhar Kapur in a balancing act between Pakistani traditions and British modernity. Kaz (Shazad Latif), who grew up in London, surprisingly decides to have an arranged marriage based on his parents’ example. His British childhood friend Zoe (Lily James) accompanies the culture clash experiment with her camera, both professionally and in a friendly manner. With colorful costumes and grandiose backdrops, between London and Lahore, the director returns to the big movie theater of sensual visual values and opens up a space beyond simplistic prejudices in which experiences, advantages and disadvantages can be playfully ventilated.
Anke Sterneborg: The Israeli animation director Ari Folman dares an unusual look at Anne Frank, which aims to convey her fate – and the incomprehensibility of the Holocaust – to young people in a new way. Anne’s imaginary friend Kitty climbs out of the pages of the famous diary, between past and present she hops through Amsterdam like a manga character. A good trick to blow a breath of fresh air into the museum and turn Anne into a girl who can sometimes be rebellious, a bit vain and mad at her stupid mother. Representing today’s children, Kitty Anne questions and makes connections to today’s refugee crisis.