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Sun­set Bou­le­vard

Gro­ßes BALi, 22:15 h

The films in SUN­SET BOU­LE­VARD are loo­king at ro­mance and kitsch in the con­tem­po­r­a­ry so­cie­ty of con­sump­ti­on. Smart and with ea­si­ness sto­ries of al­le­ged­ly ro­man­tic sce­ne­ries and their prot­ago­nists are told. On the beach, in the city, in the mall or in the nur­sing home. The most dif­fe­rent re­la­ti­on­ships bet­ween hu­mans and things are in the focus. The re­la­ti­on­ships reach from sen­ti­men­tal to prag­ma­tic, from es­ca­la­ting in terms of quan­ti­ty to du­bious in terms of qua­li­ty.

Set

Set

For this found foot­a­ge ani­ma­ted film Peter Mil­ler down­loa­ded ten thousand pho­to­graphs of the sun­set, ad­justed each one so the ho­ri­zon re­mains the same and the sun is al­ways in the cen­ter and then ar­ran­ged them in order, set­ting into mo­ti­on a sin­gu­lar, co­los­sal, collec­ti­ve sun­set. Al­ways the same sun, it sets dif­ferent­ly for eve­r­yo­ne.

  • Deutsch­land
  • 00:09:38
  • Di­rec­tor: Peter Mil­ler
  • Year: 2016

Co­lom­bi

Colombi

A couple of lo­vers spends to­ge­ther a cen­tu­ry of life, while trends, ob­ject and films de­cli­ne to­wards the hor­ror. They are ob­ses­sed with the oc­tago­nal knobs of cof­fee pots and an­ony­mous de­sign all of their life. While aging, they slow­ly lose their strength, but never their cla­ri­ty of mind. They pre­fer ex­clu­ding the outer world, dar­ke­ning and shut­te­ring their house and with­dra­wing into them­sel­ves, brow­sing through old en­cy­clo­pe­di­as about ex­tinct ani­mals.

  • Ita­li­en
  • 00:20:00
  • Di­rec­tor: Luca Ferri
  • Pro­duc­tion: An­drea Za­no­li
  • Pho­to­gra­phy: Gi­ulia Val­li­cel­li
    An­drea Za­no­li
    Pie­tro de Tilla
  • Edi­ting: Ste­fa­no p Testa
  • Music: -
  • Sound: As­si­la Cher­fi
  • Lan­guages: it
  • Sub­tit­les: en
  • Year: 2016
  • Web­site
  • Ger­man Pre­mie­re

Turt­les Are Al­ways Home

Turtles Are Always Home

"I left Le­ba­non in 2006. For the past 10 years I lived in 7 coun­tries, 10 ci­ties, and 21 homes. I slept in 21 beds, coo­ked in 21 kit­chens, wrote on 21 desks and lo­cked 21 doors be­hind me. Some­bo­dy so­me­whe­re uses my bed, some­bo­dy so­me­whe­re has my shoes, some­bo­dy so­me­whe­re maybe re­mem­bers me in those frag­men­ted traces of mine. I was there. But now I am here. In Qatar. In a fake Ve­nice with co­lor­ful hou­ses. Hou­ses have me­mo­ries too. They hide them under their win­dows­ills, tuck them in lay­ers of paint and so­me­times whisper them to birds pas­sing by. I won­der whose me­mo­ries these hou­ses will keep. I live here but I am un­a­ble to leave a trace. I try to at­tach mys­elf to the walls, dirty them, mark them… but I fail. They are con­stant­ly clea­ned, wat­ched, and pro­tec­ted. I caress them in­s­tead. And I film them, lest I for­get. Home is where the heart is, they say. I dis­agree. My heart is eve­r­y­whe­re. It left with the music. Like a turt­le, I am al­ways home."

  • Li­ba­non, Katar, Ka­na­da
  • 00:11:50
  • Di­rec­tor: Ra­wa­ne Nas­sif
  • Pro­duc­tion: Ra­wa­ne Nas­sif
  • Pho­to­gra­phy: Ra­wa­ne Nas­sif
  • Edi­ting: Ra­wa­ne Nas­sif
  • Music: Ra­wa­ne Nas­sif
  • Sound: Ra­wa­ne Nas­sif / Vic­to­re Bres­se / Sasha Par­sons
  • Lan­guages: ar
  • Sub­tit­les: en
  • Year: 2016

Final Stage [The Time for all but Sun­set - BGYOR]

Final Stage [The Time for all but Sunset - BGYOR]

Enjoy the Party, Enjoy your Night, Enjoy the Sun, Enjoy your Free­dom, Enjoy the Love, Enjoy your Life, Enjoy the Co­lors, Enjoy your Style The world is on co­lors. Times are hard, mo­dern and bit­ter. A teen­age boy in "Eu­ropes Lar­gest Shop­ping Mall". He sheds lo­ne­ly tears over so­me­o­ne. He sen­ses that so­me­thing is wrong. Bru­ta­lism, Sad­ness, Con­su­me­rism – Enjoy a Con­tem­po­r­a­ry Love Story

  • Deutsch­land
  • 00:27:00
  • Di­rec­tor: Ni­co­la­as Schmidt
  • Pro­duc­tion: Ray Jus­ter, Ni­co­la­as Schmidt
  • Pho­to­gra­phy: Arne Kör­ner, Ni­co­la­as Schmidt
  • Edi­ting: Ni­co­la­as Schmidt
  • Sound: Pablo Paolo Ki­li­an, Ni­co­la­as Schmidt
  • Year: 2017
  • Web­site
  • A38-Pro­duc­tion Grant