The Running Man - Medienpädagogische Betrachtung von Heldenfiguren im Film (German Edition)

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However, it has become apparent that, in view of decreasing resources, we have reached the limits of our honorary commitments and not all the dreams could be realized. All the more so are we pleased by all the small signs of progress which can be noted. I would like to highlight some points: The organizational statutes newly introduced last year, with which we have re-established the international structure existing already previously, have proved satisfactory.

INTERFILM is still predominantly centered on Europe, but it is significant that what is meant here by this is really Europe and not just Western Europe , and it is also important that active contact with the new American and Canadian members developed and that their activities are remarkable.

Probably, in the next few years these new contacts will increasingly enrich us, and it is well possible that the next INFO will focus on this. The example of Ingmar Bergman , and we also know of doctoral theses directly about us, and on which we will gladly report. A great installment to this dialogue took place last year with 35 participants from 12 countries in the Orthodox Academy in Kolympari on Crete in an exciting seminar about "Orthodox Iconography and Modern Film Culture".

At present we are thinking about how to continue these seminars. It is an open secret that, with respect to the question concerning the understanding of images, an interreligious dialogue with Jews and Muslims is due to be dealt with. This dialogue is topical not least in view of the ever more frequently discussed question concerning the establishment of an interreligious festival jury.

As previously mentioned, the current INFO also contains our festival chronicle. With regard to this, I would like to underline a few aspects: On the first Sunday of the festival, a confessional mass and communion took place in the presence of the respective jury representatives. On the evening before Ascension, an ecumenical service took place in the Anglican church with the participation of representatives from the Catholic, Protestant, Free Church, Anglican and Orthodox Churches.

Loach has been distinguished like no other director by the ecumenical jury at different festivals with numerous prizes and praising references see also p. At the international film festival in Locarno, where the first ecumenical jury could be arranged already in as is well known, the prize was accompanied for the first time by the unusually high sum of 20, Swiss Francs owing to the special commitment of the film officials at the Catholic Media Service and the Reformist Media, in turn supported by the Protestant and Catholic Churches of Switzerland.

After, as it has frequently happened, the film distinguished by the ecumenical jury did not find its way into the cinema, the prize money was made to serve a purpose: A special joy for me was finally seeing Riga again last year, where we carried out the third of our Europe Seminars five years ago. The fact that a special service and a church reception was offered on this occasion seems to me to be particularly hopeful.

After the Templeton Foundation already made possible the participation of Ibolya Fekete with her film "Chico" in the previous year at the seminar in lasi Rumania , it then financed a special showing of "The Return" at last year's Cottbus Festival with the director present and followed by a discussion, which was introduced competently and with great energy by Dietmar Adler. Subsequently, the director traveled further to Leeds for a special screening with a following discussion in front of approximately two hundred students in Trinity and All Saints College.

We are pleased that the cooperation with the Templeton Foundation is being strengthened in this way. One consequence of it is, among other things, the fact that the prize sum for the European Templeton Film prize was increased from originally 3, Swiss Francs to 10, in the meantime. Actually we can celebrate our 50th anniversary this year. Reason enough to remain on the receiving end and to stay in contact. Das ist allerdings schon ein Teil des Rechenschaftsberichts, den ich Ihnen vorzulegen habe.

All das heute nicht. Generalversammlung in Paris. Protokolle sind dann eben kaum vorhanden. Institution allein tut es eben nicht. So rudern wir auf dieser 7. Immer wieder ist das, von Hans Hodel und auch von katholischer Seite, angemahnt. Eine Klausurtagung zu dieser Problematik sei nach dem Erscheinen der Arbeit schon heute angeregt. Konflikte hat es hier und da gegeben. Die Mitarbeit der Kirchen auf dem Filmfestival von Moskau ist unterbrochen. Viele von uns wissen, was wir dem Charisma eines Eckart Bruchner verdanken.

Zlin ist in letzter Zeit dazugekommen, ebenfalls Bratislava. Das Charisma der Kommunikation ist ihm mitgegeben. Sie wissen, dass ich ihn. Ohne ein solches Team von einander freundschaftlich verbundenen Leuten ist eine solch weitgespannte Arbeit, die oft genug fast nebenher geschehen muss, niemals zu leisten. Langsam komme ich zum Schluss. Damit wird es immer wichtiger, die Kirche endlich auch als eine kulturelle Organisation zu begreifen, die in der aktiven Wahrnehmung von Kultur, auch von Filmkultur, eine bedeutende Rolle spielt. Die Begegnungen mit Filmemachern, von denen manche zu Freunden wurden.

The President's Report at the 39 th General Assembly of Interfilm in Oberhausen, 30 th April I have to resist the temptation of giving a speech on the present relationship between cinema and church, film and theology. Of telling you that further answers to questions regarding this relationship have developed into being a gigantic project with many different facets. This, however, is already part of the report that I have to present. And, of course, the intensive work of the "Arnoldshain Film Talks" and the "Jury of Protestant Church Film Work" as well as the expanse of the Catholic Film Work that have been going on for the last decades.

And naturally, many of us look forward especially to Juli Helmke's work on "Church Film Juries" that is about to be completed.

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First extracts that I was able to see have made me very curious. You will get a very short report. But as this is my last report as president of Interfilm, please allow me to outdo the limits of the given time span in between the two general assemblies in and , and let me talk about more than just the last four years. Interfilm is getting older.

Next year, we will be able to celebrate its 50 th anniversary. Interfilm was founded on the 25 th October in Paris. When exactly I myself took up a leading office, is not certain. My own first intensive memory of Interfilm is the 30 th general assembly in in Paris. Maybe I was elected chairman of the executive committee only in and president in at the 34 th general assembly in Hanover.

Thus, I have been president for 15 years. The incertainty as regards my taking up my office points to a structural problem of Interfilm that I want to take up first. Interfilm as a church institution moves between the two extremes: Sometimes, Interfilm has only been charisma and was fully concentrated on one single person.

In these times, there are hardly any records. Interfilm was Jan Hes and Dannowski maybe his left hand. This is why Jan Hes' sudden death on the 15 th September left Interfilm full of consternation. Ever since, we have been trying to give Interfilm more institutional structures. Institutions should be stable and reliable.

But one has to be careful that the charismatic, the personal element is not left in the background. The bigger Interfilm's radius gets involving other countries, other confessions, even other religions, the more communicative and linguistic ability and theological flexibility is needed. A leading group with a membership as divers as possible offers the best conditions for such a work. What did not succeed in these last twenty years? The hope that new and continental activities could develop by a stronger subdivision of Interfilm has turned out to be an illusion.

Institution alone is not everything after all. Still, there is no "Interfilm Africa" and no "Interfilm Asia". And in the USA, the differences between Interfilm and WACC is so minimal that it does not allow a concrete distinction or the definition on an individual Interfilm section. Thus, we are going back to a single, all including institution of Interfilm at this general assembly.

The approval that we have had from all parts, also from the USA, confirms us in this. We did not get on in the discussion of the evaluation criteria for the ecumenical juries on film festivals that we have started in on a two days meeting between Interfilm and OCIC. Over and over again, this matter has been pressed by Hans Hodel and also by the Catholic side.

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But the difficulties to bring into convincing accord the basic theological and esthetical aspects and the different situations and historically conditioned circumstances are objectively gigantic. Maybe Julia Helmke's dissertation that discusses exactly this problem, will give a new impulse to the discussion. A conference on this topic after the publication of her work shall be initiated here. There have been some conflicts. The co-operation of the Churches at the Moscow Film Festival is interrupted.

We have withdrawn from the Kiev Film Festival for the time being because of the unbearable conditions. The financial problems lean on us. Reduction of membership of the jury of the Berlin Film Festival and other juries is the consequence. Yet, the general reductions in church film work in Switzerland, Germany and other countries is worse. We did not succeed - and I say this explicitly on behalf of the presidency: Many of us know what we owe to the charisma of an Eckart Bruchner. To his kindness and to his enthusiasm. He brought us many new and young members.

But we have never been able to - permanently and reliably - accompany the many ideas and projects - often because of lack of information. How the relationship between Interfilm and the Munich Academy will be shaped in the future will be one of the tasks of Interfilm's leading committee. The presidency's suggestion for the election of the leading committee does no longer mention the name of Eckart Bruchner. He needs more scope, not the legitimisation pressure of an institution that is never on the same level with the many ideas that one man alone can have.

Now I would like to give you a short summary of all the things that, in retrospective, seem successful to me - with all the reservation that a subjective evaluation demands. The slow, but continuous expansion of Interfilm's basis is a thoroughly pleasant matter.

With every presidency meeting, the number of the new members is at least five times, sometimes even ten times as big as the number of those who leave Interfilm for whatever reason. In many countries, an enormous intensification in church film work can be noticed. At the general assembly, the present president of "Pro-Fil", Jean Lods, has emphatically demanded to include the "Francophonie" to a bigger extent in Interfilm's work and to publish Interfilm's essential documents not only in English and German, but also in French.

Italy, too, has a Protestant film Sweden has intensified its work, as have Denmark and Latvia. This year, we want to talk about orthodox iconography in films in Crete. Over and over again, the presidency is asked for church film juries for film festivals, especially by Eastern Europe. Zlin has lately been included. The possibility of an Interfilm jury in Tallinn is being explored - to strengthen our work in the Baltic.

Here, we once again reach the limits of our capacities. This gives me the opportunity to mention and thank two men who have done the actual every day work of Interfilm, mostly besides their other duties, often sometimes nearly as a full time job. In , at the congress of the women's committee of Interfilm in Bern, a new film representative of the German speaking part of Switzerland appeared who became a major figure for Interfilm.

Hans Hodel has taken over the jury co-ordination of Interfilm, later the offices. We talked to each other on the phone at least once a week, sometimes even every day. He has got the charisma of communication. At his leave taking from his principal office, in the middle of the beautiful Swiss lakes during a three lakes tour, I have tried to describe him as a solid representative of an "ontology of attraction" in a little speech.

You know that I would like to see him as my successor. He will do Interfilm good just as he has done up till now. The young people that we will need in the future will have time and opportunity to grow into their responsibilities under his guidance. As well, I would never have survived all these years as president of Interfilm without Karsten Visarius.

His cinematic-aesthetic mind, his knowledge on institution processes, his commitment and his constant kindness in all his clearness about his point-of-view have always found a solution - even in difficult situations. He has now taken Interfilm's offices from Zurich to Frankfurt and I hope that his employer will give him a little free time for them. And mentioning people, let me include in my thanks my former secretary Linde Sturm who administered Interfilm's offices for some years, still deciphers my unreadable handwriting without difficulties and is a helping hand in all things.

Without such a team of friendly and committed people, such a far reaching work that has to be done besides other works most of the time, would never have been possible. I am getting near the end. Today, church film work finds itself in a completely new situation. The theological self-definition is swallowed by the religious problems - at least in the public perception. If religion, and with it Christian faith, too, gets involved with daily politics, a distinct sensitivity for foreign perception as well as the readiness to redefine oneself over and over again are necessary.

This problem is present everywhere and reaches into the inner church discourse. Thus, it becomes more and more important to see the church also as a cultural organisation that plays a major role in the active perception of culture, including film culture. If only the financial committees and synods would see things this way. I have had uncountable good experiences as the president of Interfilm, experiences that will always accompany me. I have been walking on the red carpet in Cannes at the occasion of the anniversary of our jury there, with the appropriate announcement - and when I shook hands with the president of Cannes, he did not even look at me.

The encounters with film directors and producers, some of whom have become friends. One of the best experiences came last. Since , we have been trusted with the selection and awarding of the "European Templeton Award" and since then, I have given sermons on the awarded films respectively during the Berlin Film Festival. Not just mentioning them, but making the film the central point of my sermon. And I saw once again that the church is basically a narrative community. And how this narrative community gets along with, rejects, overlaps and changes the narrative community that a film constitutes has been a wonderful experience to me.

So that - taking the example from this years - the story of the prodigal son turns into a story of a lost father cf. The Return by Andrey Zvyaginzev. I want to thank the members of Interfilm for the confidence that they have had in me all through the years. I will follow Interfilm's situation and work - actively as well as passively and with sympathy.

Internationalen Kurzfilmtagen Oberhausen tagte die Valle Argentinien , Felix E. Premawardhana Sri Lanka und James A. Ron Holloway war bereits auf der Sitzung des Leitungsausschusses in Cottbus zum Ehrenmitglied ernannt worden. Valle Argentina , Felix E. Premawardhana Sri Lanka and James A.

Wall were appointed Honorary Members. Beside the elections the General Assembly established new regulations giving an international structure to the formerly regionally organised association. WACC is committed to develop media institutions in the countries of the South and is taking side for the right to communicate for the underprivileged and discriminated. Der als "Eindringling" wahrgenommene Vater glaubt zu wissen, wie sie sich verhalten sollten: Als sie zu dritt zu einer Fahrt in die Wildnis aufbrechen, spitzt sich der Beziehungskonflikt exemplarisch zu.

Das unausweichliche tragische Ende spielt sich in einer eindrucksvollen nordrussischen Seenlandschaft ab. Er sieht darin vielmehr "einen mythologischen Blick auf das menschliche Leben. It tells the story of the return of a father, after a 12 year absence, into the lives of two boys. They only recall him from an old photograph tucked into the pages of an illustrated Bible, which opens at the page showing the sacrifice of Isaac by his father Abraham.

The imposition of the father s will on the two children brings contrasting reactions to this intrusion into their family life. This is shown in the belief of the father that his sons should behave as he imagines is the correct and obedient way. Setting out on an adventure proves to be a steep learning curve in relationships and the inevitable final tragedy is set against the stunning backdrop of northern Russian lakes in summer. All this and more the jury considered before awarding its prize, but the director, Andrey Zvyagintsev, writes that when he was shooting the film, he did not seen the story as an everyday or social one.

Rather he saw it as a mythological look at human life. The prize includes a cheque for CHFr and inscribed certificate. It is awarded to films whichhave high artistic merit; - lend expression to a human viewpoint in keeping with the message of the Scripture, or which stimulate debate; - make audience sensitive to spiritual and social values and questions - and have already received an Ecumenical Award during the year in question.

All of a sudden, out of the blue. He has been away for ten years nobody knows where. Maybe he was in prison, some dubious deals and secret phone calls hint at this possibility. Maybe he was at war, in Chechnya or somewhere else. He is a stranger to both of his sons. With difficulty do they recognize similarities on old photographs. On them, the little one is lifted into the air by his father, the older one sitting next to them, the mother laughing. Obviously, those were happy times. But now, everything is different. Yes, fathers and sons. With great vividness, the film The Return points to a topic that is often and easily dismissed as irrelevant.

The importance that mothers have with regard to their children s life and their happiness or unhappiness, is obvious. They have been pregnant with them, have given birth to them in pain, have nourished, cared for and looked after them. Andrey and Ivan have lived by their mother s and their grandmother s, the babushka s, love up till now.

Yet, we all have had a father, whatever the relationship we had with him or he had with us.

2/03-2/04 Januar 2005

You could think about your own fathers for a moment I think that the neglect of this topic is probably due to the fact that men as fathers have often been in the background. Only recently, there seems to have been a change in this development. Immediately after having seen the film, I got a book from my shelves a book written 50 years ago by one of my theological professors in Hamburg.

It bears the title The World Without Fathers. It deals with the crisis of fatherly authority in all areas of life: The Age of the Son, which we live in today, is declared. It might just as well be possible, dear congregation, that this father who tries to find his place in his sons lives with rigorous methods is meant to represent Russia itself.

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Indeed, Russia s role that it plays in relation to its citizens and ethnic groups who have been released into a greater freedom is not easily to be defined and found. The film suggestively draws us into nearly mythical rooms and spaces: All the great and mysterious father and son stories of humanity have came up in my mind while watching the film: Yes, maybe even the most all-embracing father-child relation is hinted at a relation that we are trying to put into words with Our Lord s Prayer.

Father thou art in heaven. The Father who is so often and for such a long time absent, too, that we sometimes do not even miss him anymore. It is certainly no coincidence that the film is divided into the seven days of the creation of the world. Of course, it is the division made by the Christian tradition that begins with a Sunday, the day of resurrection, and ends with a Saturday, the day when Christ was borne to his grave.

And it is certainly no coincidence either that the iconographic representations of the sleeping and the dead father copy Renaissance representations of the dead Christ, such as by Andrea Mantegna. Andrey Zvyagintsev s wisdom and artistic force let him only hint at all these possible references and he leaves them to his spectator s attention and capacity of interpretation.

He just tells a story about the return of a father to his two sons a story that deals with the essential experiences of our existence in our world. It is a life experience that is so elementary the experience that God will send a prophet before the arrival of the Messiah, a prophet who will restore the hearts of the fathers to their children and the hearts of the children to their fathers.

So it is said in the passage of the bible that I have added to the film. Only when the fathers and the children open themselves completely to one another, God s kingdom has truly come. But now I have to tell the story a little further for those who have not seen the film The Return. Suddenly a father, who has been absent for a The returned tries to win back his place in the lives of the two sons. There only is something to eat when he wants it. They go to an island where he buried something. The sons have to be back from fishing at times that he sets.

The boys oppose the fatherly orders with their own structures when it comes to a clash, punishments are there: Ivan who is abandoned on the road in the pouring rain, Andrey who gets slapped on the face. The climax of the film is quickly reached. The sudden eruption of hate is like a storm. First with Ivan who has kept his distance to the father right from the start. Then with Andrey, then with the father, too. And I can still see the scene before my eyes: Ivan attacks his father with a knife when the latter stands above Andrey, axe in hand like Abraham and Isaac before.

Maybe also wishing that an angel might come between the two. I could love you if you were different, Ivan screams at his father. But I hate you. Yes, this sudden eruption of hate, anger and need to destroy. And I suddenly understood when watching The Return: Hate does also have a constructive moment to it. Hate wants to create the spiritual precondition for love, and occasionally it succeeds. Now we especially in the Christian churches have judged hate and put it under an absolute ban and only succeeded in letting hate unconsciously poison our relationships.

Love and destructiveness will always be related with each other and hate often sets free energies that love needs to really be completely with oneself and completely with the other. Hate discovers the sudden strangeness of the other that threatens me. At first, you get furious, you could blindly destroy everything.

And then suddenly not always, of course you know that the other, the strangeness belongs to you. That you can love it. Just like father and sons with knife drawn and axe risen suddenly know that they belong to each other. That they essentially love each other. The little one runs away, wants to throw himself off the lighthouse. The father calls after him: Son, he calls, Son, do not do it! He who dies is not the boy. It is the father. The aim, the inner sense of our hate is love. I think that, maybe, our love is so weak because our hate is so broken.

If according to Jesus words we as his successors could also hate the brother the brother, as I understand it, who consciously or unconsciously enslaves and destroys the other with his egoism and his fantasies of omnipotence. If we could scream at his or her face: I could love you if you were different then we would probably love more beauty and goodness in ourselves and in others than we imagine.

If it is true that love is as strong as death, then it also needs an energy that also sometimes gets blind with fury before it embraces the other. Then the two brothers return from the island with the dead father in the boat. Before the motor starts, the boat glides noiselessly on a silvery stream as if it went directly to a wonderful country. The two boys sit silently in the boat, later, onshore, they hold wake. There is not much to say.

The metamorphosis from indifference over hate to love is not always easily to be had. Out of our Christian faith we know exactly that reconciliation demands sacrifices. Sometimes you only know when it is too late that the one who died for it was the saving protection that we had in life. But all the same: This knowledge makes its way to the two sons just as forcefully as the hate before. When the boat with the dead father comes off the shore and slowly sinks, Andrey and Ivan go after it into the deep water.

Especially Ivan cannot stop calling out the word that he could not say before: To live with an absent father will be Andrey s and Ivan s fate. We all do not stay children forever. We grow up, have to live without fathers and mothers. What we keep are images and memories that is a lot. But protection, the certainty of taking a right way, and confidence will only be there when the wounds of the unloved child have healed. This goes for the relationship of sons and daughters with their earthly mothers and fathers who will no longer be there one day.

But who will accompany us with what they have given us and what we have given them till the end of our lives. The wound of an unwanted, unloved, and senseless life destroys every life around. Belief in God, his creation, his love, and his justice and live towards it that is what it is all about.

Pass on the certainty that this father whose absence we often do not notice for a long time and whose presence we then again ardently beg for is like a good mother. Thus, in my opinion, this film in its unity of artistic creation and exploration as regards content is awarded with the Templeton Film Award with high justifiability. What the prophet says about Judgement Day and the fulfillment of life and all times is anticipated and practised in a knowing game of life.

That one will come to restore the hearts of the fathers to their children and the hearts of the children to their fathers. If this happens, on a greater scale, then God s kingdom will truly have come. Der Film wurde ebenfalls mit dem Goldenen Leoparden ausgezeichnet. The film also won the Golden Leopard. Aber der Dampf dient nicht nur dazu, den Zug anzutreiben: Aber auch ihre Seele versuchen sie hier zu reinigen: Stucki Switzerland awards the Prize of the Ecumenical Jury to the film Clean Thursday Cistyj Cetverg by Aleksandr Rastorgujev Russia "Clean Thursday" is a virulent contribution to the discussion over the irreversible damage of war.

The film uses its images to resist efforts to whitewash the war. Statement of the Jury Description: A special unit of the Russian army on board a steam train in Chechnya. But the steam isn t used to drive the train; instead three of the five carriages are laundries, while the other two are bathhouses.

Yet they also attempt to clean their souls here: Festival information The Ecumenical Jury gives a Commendation to the film The Wheel Kola by Victor Asliuk Belarus A poetic camera-based film with perceptiveness for a life between hope and sadness. A village where only old people live and which only contains one solitary well.

A shop on wheels calls once a week. The village only has one young family with a baby. Reinhard Middel journalist and teacher of media education, Germany , Jes Nysten pastor and film critic, Denmark , Antje Peters-Hirt journalist, scholar of German language and literature, Germany , Kersti Uibo documentary film director, Estonia. An upfront, hard-hitting yet warm-hearted tale of four brothers who He has made five feature films to date. Bad Boys " tells of four brothers under the thumb of a tyrannical and bigoted father.

His harsh regime of ends when he is sectioned as a schizophrenic. Left to their own devices, the four brothers survive by breaking into ATMs. When they realise how easy a life of crime can be, they move on to bigger things. Bad Boys is based on the true story of the four Koistinen brothers, aka the 'Euro-Daltons', who were sentenced in Finland for more than thefts and robberies. The film heroes are a bunch of affably naive lads who have been given a raw deal in life and who never resort to violence.

The problems arising in a father son relationship are shown against the perfect backdrop of a lonely lakeside landscape. With great psychological sensibility the director sketches the individual character of the characters with great psychological sensitivity. This filmic masterpiece is rounded off by outstanding acting by the main characters and finely composed scenes. Dort hat er inzwischen Familie mit Kindern. Er reist auf eine Insel im persischen Golf, die Freihandelszone ist, weswegen er dort kein Einreisevisum braucht. Die Stille des Meeres" ist sein erster langer Spielfilm.

This case study of an Iranian emigrant depicts the trauma of dislodged human experience, searching its identity between old home and new home. The island off the coast of Iran and communication by cell phone are both metaphors for the torn protagonist s inner conflict. Shia, why don t you come back home? He leaves his wife Harriet and their two children behind and sets off from the cold of winter in Sweden, his exile which has never become his home, on his journey: In this twilight kingdom surrounded by the sea, a stop-off for smugglers on the way to Saudi Arabia, and for legal and illegal immigrants, Shiavashi tries to find out what the cause of his restlessness is.

In search of his roots, he traces the landscape with his camcorder, giving people shy glances, who scrutinise him with distrust until they realise that he speaks their language. The images which he sees and films remain alien and upsetting to him. A mobile phone becomes his real window to the world, and carries the voices of his wife and children to the ears of this person who is a stranger in his own country, as well as the voice of his brother Hussein, who has remained in Iran, and whom Shiavashi, in a heart-breaking scene, initially does not recognise acoustically.

On the verge of his old home, Shiavashi experiences moments of nostalgia, trauma, but also happiness, and in a dramatic finale, finds out where he really belongs. In quiet but penetrating images, opening up large spaces in the passage of time in search of home, Vahid Moussaini has achieved a filmic meditation full of visual beauty. Festival information Vahid Mousaian was born in in Khorramabad, Iran. After graduating in theatre direction from Azad University, he made ten short films from to Silence of the Sea is his first full-length feature film.

Internationales Filmfestival Bratislava Jaemshed Usmonov Mitglieder der Jury: Hamro ist kein guter Mensch, noch hat er in seinem Leben viel Gutes getan. Aber er begreift, dass er zuletzt nur der Liebe seiner Mutter vertrauen kann. Einer alten islamischen Legende zufolge hat jeder Mensch zwei unsichtbare Engel - einen auf dem rechten, den anderen auf dem linken Arm.

Auf den ersten Blick beginnt der Film als Krimi. Angel on the Right Farishtay kifti rost Tadjikistan, France, Switzerland, Italy, directed by Jaemshed Usmonov "for an excellent depiction of an ordinary human fate formed by the Islamic tradition, oscillating between good and bad where hope still has a chance. After ten years in Moscow Hamro, a criminal, is coming back to his native village to supposedly take care of his dying mother Halima.

However, the real reason for his return is to sell the house and inheritance as soon as possible. He has debts that are long over due Hamro is not a good man, nor has he done many good deeds in his life. But, in the end he realizes that his mother s love is probably the only thing he can rely on in life. Maybe the time has come for him to start listening more carefully to the angel on his right arm According to an old Islamic legend everyone has two invisible angels one on the left arm, the other on the right. The angel on the right counts the good deeds and good intentions while the left one records everything bad.

Sie behauptet, nichts mit dem Tod des Mannes zu tun zu haben. Was ist die Wahrheit? Werden Sie hier ein neues Zuhause finden? Er sucht sich eine Arbeit, besucht den Sprachunterricht und verliebt sich sogar, in die Tochter seines neuen Arbeitskollegen Ralf. The Portuguese coast west of Lisbon: A man's body is washed ashore.

Police detective Pinto finds a video camera in a nearby parked car, on tape a young woman apparently unaware of being filmed. Pinto later finds the young woman and an interrogation begins, but her explanations only give rise to more confusion. Pinto thinks in the end that he has discovered the structure behind all this, but did everything really happen as he imagines it? Or does truth lie only in the eye of the beholder? Black humour, quirky behaviour and dysfunctional families to educate and entertain in a full-length work, told grippingly and filmed on an epic scale.

A kaleidoscopic magnification of human - Swedish - behaviour and mores, it tells four different stories. A well-dressed man, having just completed his life's work, meets his destiny, in the shape of a little man made out of wood. In the south of Sweden a zealous father tries to encourage his son, by showing him the joys of small animal cremation. In Gothenburg, a diverse group of people convene, in the belief that they will learn how to cook.

And somewhere in the north, a patriarch dies. His sons attend the funeral, which manifests strong oriental influences. Sliced in half for a classic intermission, Four Shades of Brown is epic in design and the almost Hopper-like visuals. Swooping down from an opening bird's eye view of the suburban sprawl, its opening ironic gesture, Four Shades of Brown delves deeper in the quirky but often dark view of urban and suburban lives, dysfunctional relationships and bizarre families.

The film is tinged with moments of the blackest humour, but also of deep anger and frustration. Julienne Munyaneza Rwanda, z. Zwischen den beiden funkt es auf Anhieb. Doch die Soldaten verlaufen sich und eine Mine explodiert. Zwar findet er Arbeit, aber keinen Anschluss an seine alte Clique. Anders als erwartet ist der Mann jedoch zu Hause und wird erschossen. Er will sie zu Verwandten ins Ausland schicken. Sie glaubt nicht, dass das irgendetwas zu bedeuten hat.

Anna ist geschieden und Mutter einer Tochter. Sie und Morgana verstehen sich sehr gut. Jedenfalls war das bislang so. It awards its main prize to a film entered in the Competition. It awards two other prizes of Euro to a film from the Panorama courtesy of the German Bishops Conference and Forum courtesy of the Council of the Evangelical Church in Germany respectively. The prizes go to directors who have displayed genuine artistic talent and succeeded in portraying actions or human experiences that comply with the Gospels or sensitize viewers to spiritual, human or social values.

The Awards of the Ecumenical Jury go to: AE FOND KISS by Ken Loach, United Kingdom The lovestory between a young man of pakistan decent and a catholic schoolteacher gives an impressive example for the cultural, religious und social barriers, which has to overcome for a common future for people from different cultural backgrounds.

A plea for mutual acceptance and intercultural understanding. Casim Khan is a successful DJ in Glasgow. The son of Pakistani immigrants, he works in the city s coolest venues and dreams of buying his own club. His parents Tariq and Sadia are devout Muslims; fiercely protective of their family and their traditions, they plan for him to marry his beautiful cousin Jasmine, who is soon to arrive in the UK. Their plans go awry, however, when Casim meets Roisin. A teacher at his sister Tahara s school, Roisin is different from any girl he s ever met. She and Casim soon fall deeply in love. But Casim knows all too well that, even if he wasn t due to marry, his parents would never accept a goree a European.

As a Catholic, Roisin finds that her own community, more than a little skeptical about her love for Casim, doesn t prove very supportive either. It show that even here acting as a human being is possible. The only way of working on a peaceful future is taking risks for protecting life and respecting even the enemies as human persons. Split, in A Croatian unit is in the process of committing an act of sabotage in nearby Herzegovina.

However, contrary to expectation, the The assassins abduct the businessman s eleven-year-old daughter and hold her prisoner in a garage. The directors compellingly approriate imagery underscores the right to justice and human dignity. Anna is a secretary. Recently, the company where she works has been taken over by a multinational.

At the firm s get-together, the company employees all have a drink to celebrate the merger. Anna is the only employee who is not greeted personally by the new director but she doesn t think anything of it. However, this bagatelle turns out to be just the beginning of a process that makes Anna s working life hell.

At first her colleagues attitude towards her is barely noticeable but, before long, Anna is convinced that their merciless behaviour is part of some kind of a conspiracy to engineer her dismissal. Anna is a divorcee and a single mother. She and Morgana have always got on well. Or at least they did up until now. Then, all at once, Anna collapses and, under the pressure of constant humiliation, she has a nervous breakdown and falls ill.

From this point on, she stops worrying about Morgana although her friend could just perhaps be the key to finding a solution for the whole situation It contrasts the insanity of war with the insanity of mentally troubled persons and raises possibilities for healing through community and human relations. In an original and powerful style that describes the character s inner world and the terrible social reality all at once, this film recounts a man s desperate resistance not only to the violence of society, but to his own inner violence as well.

The unfolding of the narration shows that this violence is not a fatality. Statement of the Jury Synopsis: He represents a sacrificed generation, which has paid the price of the government s irresponsibility. Haunted by his war memories, Santiago has to confront a new type of combat: Dias de Santiago immerses us in the complex and sombre meanderings of war and its infernal, seemingly never ending cycle of violence.

Alternating black and white sequences with colour images to enhance the film s realism and its atmosphere of desperation and frustration, the film director creates an unvarnished portrait of life in Lima. Moreover, the political and social reality in which the film takes place is perfectly evoked by the director. He is waiting for his father who is supposed to return from working in France. At least, this is what his mother and his grandfather tell him. In reality, Mehdi s father is in prison.

At any moment, the child s mental balance is about to be disturbed Faouzi Bensaidi s experience ranges from theatre specialist and actor to scriptwriter. His first feature film is a perfect combination of all three: All three make this first film a rounded off accomplishment. The comic notes interspersed here and there enhance the story abounding in literary references.

Internationale Kurzfilmtage Oberhausen, Dieses Video ragt aus den zahlreichen Filmen zum Thema Migration deutlich heraus. Bemerkenswert sind seine herausfordernde Filmsprache, seine ruhigen Einstellungen und seine beeindruckende Symbolik. Humorvoll und spannend zugleich gestaltet der Film diese brisanten Themen. Britanya by Marjoleine Boonstra, Netherlands, , Statement: This video stands out among the countless films about migration. In an unobtrusive and sensitive way it gives faces and dignity, space and time to people who have nothing but their hope.

Its challenging film language, its quiet shots and impressive symbolism are remarkable. Fresh and light, original, and full of tongue-incheek humour, "Les Tartines" plays with the meaning of love, sexuality, food and language. Poverty, motherhood, the hope of a better life, this is what "WASP" is about. In a funny and exciting way the film gives shape to these explosive issues. Shot in Dogma-style, "WASP" derives its strength from excellent acting, a thrilling soundtrack and its convincing plot structure.

Diarios de motocicleta Motorcycle Diaries Regie: The audience shares in the origins of the vocation of an iconic revolutionary figure committed to justice. The film draws attention to social and political problems which have not yet been resolved. The village women themselves impose a change. In einem entscheidenden Punkt jedoch sind sie anders: Doch ein bereits absehbarer Konflikt wirft seinen Schatten voraus. An immigrant boy seeking for shelter is helped by a blind girl and they learn to know each other's life.

The film is created with a wonderful sense of humour and lack of sentimentality. Outstanding artistic means are here in the service of a deep humanistic message. A story of two thirteen-year-old girls, Marie and Inge, who have always been best friends. They have the same problems as other girls of their age boys, teachers, their own body. However, in one respect they are totally different - they are both blind They live in a boarding school and live for their biggest passion - music.

Before their plans come true, they must together overcome many obstacles; on their way to success they experience both pleasant and unpleasant aspects of life. Festival information In addition, the Ecumenical Jury has given a Commendation to the film. In a suggestive way, the film reflects the fragile social situations and developments in the postcommunist countries.

There is not much going on at the Solec farmstead in the Czech Paradise region. Its inhabitants include the owner, Mrs. The summer holidays have just started and the everyday stereotype reels around the troubles and worries of the adults and the duties and boredom of the children. Joy, peace and seeming happiness enter the lives of our heroes. However, the expected conflict is drawing close. Due to financial problems, Mrs.

It is necessary to make a plan to prevent this and implement it. Festival information The members of the Ecumenical Jury: In kraftvollen und manchmal surrealen Bildern zeichnet Hiner Saleem auf sehr originelle Weise die Aufbruchstimmung. After a century of catastrophes, including genocide and the long communist dictatorship, the young people are leaving. Their elders are left behind - a forgotten people.

As bleak as the situation seems, they nevertheless take strength in their ties to their birthplace and their memories of their dead loved ones. The film's protagonist is forced to give up what is left of his property, piece by piece, and begins a new life. A commendation goes to Robert Greenwald for his film Uncovered: The War on Iraq USA for depicting the struggle between power and truth, the failure of the mainstream media, the courage of the film's participants to stand up for what they believe in, and the imaginative use of new tools of modern technology to get the message out to a public that has been lied to and manipulated.

The jury of the Interfilm Academy: Die Heimkehr wird ihr nicht leicht gemacht. Festivalinformation Mitglieder der Jury: The Jury has awarded this film for the convincing interpretation of the necessity to cope bravely, wisely, and with humour with the consequences of one's own failures and those of others and of the fundamental need of finding inner peace and mutual forgiveness.

Delia is a nervy, sensitive middle-aged woman who doesn t seem to have had much joy out of life. Years before, she had run away from a man who used to beat her and had threatened to kill her several times; her second marriage to a rock singer ended with his death in a car accident while he was travelling with his lover. There is not much now to keep her in California and, taking her. But nothing is ever that easy.

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Many years ago Delia had abandoned her two small daughters and now she has to encounter contempt from the inhabitants of the provincial town, accusations from her husband who, gravely ill and abandoned, is dying in his dilapidated house, the hatred of her mother-in-law who is bringing up the girls and doesn t want to hand them back to Delia, with Cissy s depression as the girl can t stand the new environment and, above all, she has to face total alienation and lack of trust on the part of her two adolescent daughters.

Festival Information Members of the Jury: Dies ist dem regen Kontakt zwischen den muslimischen Darstellern Laien wie Profis und dem Filmteam zu verdanken: Der Preis ist zum ersten Mal mit SFr. Das Leben in dieser geschlossenen Gesellschaft beleuchtet die verschiedenen Verhaltensweisen im Alltag der kriegerischen Auseinandersetzung. The rediscovering of the Koran starts an authentic faith journey and gives her the possibility to affirm herself truthfully. Yasmin courageously seeks a way to be herself both in her Pakistani immigrant community and in the surrounding Western society".

The award includes prize money of SF. Their non-violent resistance is based on a paternal conviction. The private interior view illuminates the different attitudes towards daily life in a war situation. This gives us a sign of hope for our world today. Members of the Jury: In the present-day Golan Heights, a wedding turns into an epic drama.

Mona's wedding day is the saddest day of her life. The story of Mona's wedding day is a story about physical, mental and emotional borders and the will to cross them. A story about a family torn apart by differences of tradition, politics and prejudice: In the Middle East, once a border is crossed, there is often no way back, and at the end of a long day the bride, her family, the government and military officials gathered on both sides of the border find themselves facing an uncertain future, trapped in no man's land.

Love of freedom, love for the spirit of freedom, love for the physical and emotional landscapes that surround us, all of us. A love for women who fight for their place in the world and a love for people who still dream and hope -- here, across the border, everywhere. The members of the Jury are: The Ecumenical Prize aims at promoting movies that distinguish themselves not only by their artistic merit, but also by their exploration of the ethical, social and spiritual values that make life human.

It runs this year from September. The Forum demonstrates a challenging and innovative spectre of films the total number is around made in the latest two years and consists of an international competition screening, a Baltic film competition, a panorama of world cinema, thematic programmes, and a retrospective.

The selection criterion of the international film competition is originality. The selection committee is looking for films which are remarkable thanks to their contents or to the means of expression. Consistent with the philosophy of Arsenals, each of the Forum directors is awarded the Magic Crystal prize with the engraving The Best Director. The film gets its title from one of its characters an old man, who is sitting on the bench in some Hungary village and has hiccups.

At the same time, different events are going on: There are almost no dialogues, which proves once again that picture in cinema is more important than text. Interestingly, that landscapes and animals play as important role as the actor. The directors camera observes events from a personal point of view, thus confronting the viewer with the past and with the need to memorize history and give signs of reconciliation.

Porno-Glanz und iranisches Elend der Social Bots - Deus ex Machina

It is a story about men who spend their free time in the forests digging muddy earth. They search the track of wars, namely, soldiers, who have been and would be considered to be missing unless the quest of the heroes of this film. Sometimes they dig out a tank or plane, sometimes they help a tragic love story to become true, letting a wife to meet her husband, who 60 years ago went to war and did not return This black-and-white film with a well twisted story reminds that war is war no matter where, in Europe or Iraq, a long time ago or nowadays.

If we ignore our past, we ignore our future, says the director of film Askolds Saulitis. The film is based on a novel Diggers by Viktors Duks, nominated for the EPPI Award in Its director Askolds Saulitis is 38 years old, and he has as of late, attracted the attention of audiences with several documentaries. Twice now he has received the Best Documentary Film Director prize at the national latvian film festival Lielas Kristaps. The way she tells her story allows us a very intimate insight into the lives of both spouses that have changed lastingly, in their fight for their marriage and their future existence.

This very moving film about a young couple that copes with their fate does by no means suppress the doubts and the dangers in this fight: Immer bereit, ihren Feinden einen Schritt vorauszusein. Der spannende, mystische und witzige Actionstreifen besitzt Tempo und Crime. Nicht zu Unrecht wurde er in Ungarn der Publikumserfolg des Jahres. Precisely the director connects the blackest depths of our society with those of the human soul. Er hilft, die Situation Betroffener besser zu verstehen und zeigt, dass es gelingen kann, im Durchleben dieser schweren Krise ein Paar zu bleiben.

The film tells how a young man breaks out of a vicious circle of violence and revenge by refusing to accept the traditional values of the people who surround him. In making this decision he accepts responsibility for himself and his family. The film is convincing in its depiction of the young man and his mentally handicapped brother.