Kestner Cinémathèque

In the new Kestner Cinémathèque, we permanently show a curated film program. On special evenings, classics of film history are shown there.<br />

Photo: Robert Knoke

The new Kestner Cinémathèque is located on the first floor. Parallel to the exhibitions, various short films selected by the artists are shown there, which are simultaneously presented in the Kestner Gesellschaft. A curtain designed by the artist Jongsuk Yoon guides the visitors into the world of cinema.

Currently we present:

Clarice Lispector, Panorama com Clarice Lispector, a conversation with Júlio Lerner, Brasil, 1977, 28min

In February of 1977, months before her death, the author Clarice Lispector visited the studios of TV Cultura, Channel 2, in São Paulo for a debate and accepted the invitation to be interviewed by the journalist Júlio Lerner, host of the program “Panorama Especial.” This would be her only audiovisual record, which, upon Clarice’s request, would air only after her death, on December 28th at 8:30 in the evening.

Olga Tokarczuk, The Tender Narrator, Nobel Lecture, Sweden, 2019, 90min

The lecture by the Polish novelist Olga Tokarczuk, the 2018 laureate in literature, is both a message consistent with the author’s writings and a literary text in and of itself.

Chantal Akerman, La Chambre, Belgium, 1972, 11min

Courtesy of Marian Goodman Gallery

With a long 360 degree pan, the camera slowly but with different speeds films two rooms of a house, the kitchen and the living room, which also serves as a bedroom. On the bed lies a woman who does something with each pass of the camera, like eating an apple. After three full pans, the camera makes a short backward movement twice to surprise the woman. On the last pass she yawns and lies down on her bed

Robert Ashley, Automatic Writing, USA, 1979, 7min

Courtesy of Lovely Music, Ltd.

In Automatic Writing, which comprises one 46-minute piece, Ashley repeats the line, “My mind is censoring my own mind,” or a slight variation of it, a dozen times. The composition is based on a recording of the composer’s involuntary speech, a symptom he attributed to a possible “mild form of Tourette’s.”

Jack Smith, Flaming Creatures, USA, 1963, 45min

Copyright Jack Smith Archive, Courtesy Gladstone Gallery

Flaming Creatures is a 1963 underground queer film by filmmaker, performance artist and photographer Jack Smith (1932-1989). The film exerted a major aesthetic influence on the artistic avant-garde such as Laurie Anderson, Nan Goldin, Rainer Werner Fassbinder, Cindy Sherman, John Waters, and Robert Wilson, and inspired camp art. Accused of obscenity, it was banned in 22 U.S. states and in other countries. Today, Flaming Creatures is considered a “key work of modern cinema.” Flaming Creatures plays with conventions and transgressions. Gender roles in the film are ambiguous and defy definition; the plot features gay, lesbian, transgender, intersex, and drag performers. The action is surreal, associative rather than narrative. Scenes flow into one another, interrupted by fleeting close-ups of intimate body parts

The Black Soft, Totu Popep, USA, 2012, 10min

The music-video trilogy Totu Popep of the New York-based duo The Black Soft (Joseph Topmiller and Chase Coughlin) is best described as an eclectic mix of 1980s synth-pop, cinematic string sounds of film- noir, and some spiritual voodoo-like music, as well as elements of blues, industrial, dark wave, orchestral, and post-electronic music. Opening Credits by The Black Soft Part 1 Directed by Francsico Garcia, Fashion by Yana Kamps Part 2 Directed by Evaan Kheraj, Fashion by Luisa Rino Part 3 Directed by Tim Richardson, Fashion by Nicola Formichetti

Jean-Luc Godard, Masculin, Feminin, France, 1966, 103min

Godard, with a screenplay loosely based on two Guy de Maupassant stories, Le Signe and La Femme de Paul. Paul is young, just demobbed from national service in the French Army, and disillusioned with civilian life. As his girlfriend builds herself a career as a pop singer, Paul becomes more isolated from his friends and peers (‘the children of Marx and Coca Cola’, as the credits announce) and their social and emotional politics.

Jean-Luc Godard, Alphaville, France, 1965, 99min

Secret agent Lemmy Caution, alias Ivan Johnson, comes to Alphaville to search for the kidnapped Professor von Braun. The latter has developed the computer Alpha 60, which controls every movement and every thought. On his way through this absurd world, Lemmy Caution gets a companion: Natasha, the professor's daughter.

Tomás Gutiérrez Alea, Memories of Underdevelopment, Cuba, 1968, 97min

Sergio, a wealthy bourgeois aspiring writer, decides to stay in Cuba even though his wife and friends flee to Miami. Sergio looks back over the changes in Cuba, from the Cuban Revolution to the missile crisis, the effect of living in what he calls an underdeveloped country, and his relations with his girlfriends, Elena and Hanna. Memories of Underdevelopment is a complex character study of alienation during the turmoil of social changes.


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