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No to Racism
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No to Racism
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American Carnage
Comedy, United States 2022, 101 min
Zero tolerance! That is the stated motto of cynical governor Harper Finn, who has made himself head of a US state with a lot of money and even more reactionary slogans. Shortly before the election, Finn orders the children of all illegal immigrants in the country to be arrested. However, some young people are offered a deal: if they voluntarily take part in a work program in a retirement home, the charges will be dropped. However, the facility under the leadership of the dubious Dr. Eddie proves to be anything but a caring “retirement home” for the young people (including Jenna Ortega, Jorge Lendeborg Jr., Jorge Diaz): in fact, the house resembles a prison. And something is very wrong with the elderly “inmates”... “Only a discarded foreigner is a good foreigner” is known to be an unofficial motto of the Republican Party in the USA. Whether it's Trump's wall madness, children locked up in cages or the current governor of Florida, Ron DeSantis, who packs migrants into buses and sends them to Democratic cities: The list of measures is long. No one has any scruples, no abomination is taboo when it comes to appealing to the base instincts of their own electorate. In this respect, it is not really surprising that “American Carnage” picks up on these developments and processes them on film. More specifically, director and co-writer Diego Hallivis - like so many of his colleagues in recent years - uses the possibilities of the horror genre to describe a horror that is part of everyday life for many people in the USA. Diego and his brother Julio, who co-wrote the screenplay with him, take a humorous approach. Comparisons with Jordan Peele's “Get Out” are inevitable. [...] The audience soon realizes, along with the involuntary volunteers, that something is wrong in this retirement home. But what exactly is going on remains hidden for a long time and only very few people are likely to guess. Even if you guess one twist in advance, there's another one to come.” (Oliver Armknecht, on: filmrezensionen.de)
Nico
Drama, Germany 2022, 80 min
A brief moment, an unexpected outbreak of violence, and nothing is the way it used to be: Nico, the life-affirming, self-confident geriatric nurse, is actually popular with everyone: the patients love her easy-going, understanding manner. After work, the young German-Iranian enjoys the Berlin summer in the park with her best friend Rosa. Then a racially motivated attack changes everything, her self-image as well as her position in life and society: Nico is not only abruptly torn from her carefree everyday life. She also realizes that she doesn't belong to German society as naturally as she always thought, and how much racism actually surrounds her. Plagued by memories of the terrible attack, Nico withdraws more and more into herself. Not only does Rosa lose touch with her, but her patients don't recognize the once cheerful young woman either. Nico senses that things can't go on like this and turns to the rugged karate world champion Andy. Through his tough training program, Nico manages to channel her anger and regain her strength. But at the same time, she loses touch with herself and her old life. Life is not the “Karate Kid” after all. Psychological wounds cannot simply be closed by physical means... Behind the succinct title “Nico” lies the finely branched feature film debut of dffb graduate Eline Gehring, consisting of many casually inserted pieces of information and perspectives. With almost documentary-like immediacy and great credibility, she stages Nico's path back to life and back to himself. Sara Fazilat (also screenplay and production) plays the lead role with impressive physical presence as the traumas inscribe themselves on her body and she tries to shake them off. The result is a multifaceted story of belonging, self-empowerment, resilience and friendship.
The Drover's Wife: The Legend of Molly Johnson
Western, Australia 2022, 109 min
Heavily pregnant and with four children on her hands, Molly is stuck on her farm in the Australian Alps. Her husband has left to herd sheep in the outback - in an area that is not only considered harsh, but also dangerous. In 1893, the medical facilities and legal protection against intruders also leave a lot to be desired. To make it short: the circumstances of the upcoming birth could be better. So Molly Johnson takes the sceptre, or rather the gun, into her own hands when strangers suddenly appear: A new sergeant and his wife, recent immigrants from London, and Yadaka, an Aborigine on the run, whom Molly slowly gets closer to. Director Leah Purcell is in no way inferior to her title character when it comes to feminist solo efforts. She not only took on the role of Molly Johnson, but also adapted the short story by Henry Lawson on which it is based first for the theater and shortly afterwards for the medium of film. The result is a gripping portrait of a courageous solo fighter who, despite an adverse starting position, "stands her ground" in the fight for survival and for the protection of her children. This thrilling anti-Western is consistently told from a female perspective and features an impressive female character who is so much more than just "the drover's wife" in the face of the machismo and racism of her time. Leah Purcell gradually reveals the identity of her characters, immerses them in the magnificent shots of a breathtaking landscape and also takes an interest in the culture of the oppressed indigenous people.
Completely bonkers?!
Adventure
"Best friends forever" - that's what kids like to text each other. But what happens when one of three best friends has a secret that nobody knows about? And which causes a huge problem for the best friend? For example, a little Star of David on a chain in the eyes of a Syrian refugee child...?
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