Film - 2023
Arthouse Cinema

Farocki combines character dialogue, camera shots, fictional narrative style, and multi-layered settings to deconstruct the essence of what makes a film work: images.

By: Manshur Zikri

“Feminism is not an invention of the West.” So stated the late Nawal El Saadawi during an interview with Channel 4 News. She added that the struggle of women of different origins, traditions and religions takes place all over the world.

By: Umi Lestari

His films seek not only to reveal the past but also to position the present in the historical dimension. Consequently, Kluge doesn’t talk openly about the Nazi regime, the events of the Holocaust, or the effects of the Cold War in the film. He does, however, refer to these events by addressing how they still affect the lives of his characters today.

By: Permata Adinda 

For Herzog, images based on everyday reality and are simply shown in this way—or let’s say innocent images—present only superficial truths.

By: Bunga Siagian 

The landscape is structured by the performativity of its subjects to space and the performativity of space to its subjects. The space is influenced and the space takes influence.

By: ​Taufiqurrahman Kifu

The concept of the “past” already carries a moral burden on German post-war society, from its defeat in the First World War to the genocide committed by the National Socialists in various regions of Europe.

By: ​Dini Adanurani

Man lives from assumptions, from (product) demonstrations and from the written instructions of user manuals, which in the meantime have evolved into a life manual, and this means: mechanization.

By: Dhanurendra Pandji

For Fassbinder, the encounter of two characters from different backgrounds is both a simple and astonishing way to start a film—the viewer quickly understands the essence of what the film is about.

By: Afrian Purnama 

Released in 1969, Katzelmacher is Rainer Werner Fassbinder’s second feature film. His first film entitled Liebe ist kälter als der Tod (Love is Colder than Death) was released the same year, both black & white. Katzelmacher opens with a series of scenes featuring the film’s main characters. They live in anxiety but also with a certain distrust of each other.

By: ​Ayu Diah Cempaka

Wim Wenders, a director of the New German Film generation, adapted Highsmith’s thriller Ripley's Game for the screen as Der Amerikanische Freund (The American Friend). It was produced from 1976 to 1977 in an era when America greatly dominated Europe in many areas, including the film world.

By: Adi Osman 

Space is never neutral. Power always needs space to realize its authority in the process of domination.

By: Aryo Danusiri

In the middle of the nineties the filmmakers of the “Berliner Schule” (The Berlin School) created radically new images of German society. Their films still have so much to say about their country.