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While Sedanur spends the whole night in Ingolstadt sorting car parts, headhunter Eva is looking for specialists in logistics automation. Two very different representatives of a generation in which, sooner or later, everyone will be replaceable.
Workshop discussion – costume designer Monika Jacobs & director Heinrich Breloer with Barbara Baum in attendance
In the 17th century, a cavalier at the French court makes a wager that he can win the affections of a beautiful, but prickly member of the landed gentry. King Vidor’s sumptuous swashbuckler tells the story of a romantic adventure with ease and irony.
Screening of the Golden Bear winning film 2020.
The cross-section Berlinale Documentary Award is endowed with prize money of €40,000 which is shared between the director and the producer of the winning film. This year’s jury comprises Gerd Koske, Marie Losier and Alanis Obomsawin.
The glamorous punky synth-pop of Die Supererbin is a rejection of yesterday’s outdated record industry and a concept for the pop of tomorrow.
As Fiva, Nina Sonnenberg makes the heads of her audience nod with her intelligent rap and driving beats. With a new musical concept, she demonstrates her talent for storytelling.
Let yourself be carried away into a new musical cosmos by Lakedaimon’s heroically melancholy voice and sometimes danceable, sometimes contemplative electronic pop hybrid.
Let the tender voice and emotional lyrics of Leopold carry you beyond the boundaries of social stereotypes. Glam pop at its best!
Neo-soul singer Lui Hill wins over the Audi Berlinale Lounge audience with his soft and smoky voice, electronic beats and dynamic drums.
Let yourself be carried away into a world of melancholy truthfulness by the nonchalant sound and laconic, idiosyncratic lyrics of Martin Bechler (Fortuna Ehrenfeld).
Quiet please, we’re having a party! Grab a pair of headphones and experience the silent party in the Audi Berlinale Lounge.
It Wasn’t the Right Mountain, Mohammad | Playback. Ensayo de una despedida | 2008 | Écume
The same old adventure recited in a new synthetic world, starring: God, Abraham, Isaac, a lost shepherd and the antelopes in the role of the Ram. Nobody is innocent.
“La Delpi”, the sole survivor of a group of transgender women and drag queens, remembers how lipstick, playback performances and improvised stage outfits galvanised the community and helped them in their struggle against AIDS and police violence.
Images of cherry blossom, luminous fields bursting with colour and miscellaneous domestic ephemera are photographed from the screen of an obsolete televisual device. A magical melody for the eyes, presented in 3D.
The car repair shop is their second home and their colleagues are like family. Everyone has their quirks and is accepted for the way they are. But then comes the bad news: they are soon to be squeezed out by a more lucrative new building project.
HaMa’azin | How to Disappear | Inflorescence | Veitstanz/Feixtanz | Cause of Death
He is young and works for Israeli military intelligence, listening in on conversations between Palestinians. The phone calls of a gay couple fascinate him more and more, and he is unsure whether and, if so, in what way he should follow his feelings.
How to Disappear is an anti-war film in the truest sense of the word. Searching for peace in the most unlikely of places – an online war game – it is a tribute to disobedience and desertion, in both the digital and physical-real worlds of warfare.
Eternally united, pink rose petals endure together the slings and arrows of a heavy thunderstorm. A bedtime story about resistance and redundancy. Let’s unite and blossom!
1988 in Erfurt, East Germany. A group of people take the liberty to shake it all off and dance themselves into ecstasy at sites of their own choosing. Everyone for themselves, captured on Super 8 film.
Through archival film footage, animation and spoken word poetry an experience of structural violence against women is exposed.