<html><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class=""><div style="word-wrap: break-word; -webkit-nbsp-mode: space; line-break: after-white-space;" class=""><div class=""><span style="color: rgb(230, 59, 122); font-size: 36px;" class="">BERLINALE 2022 </span></div><div class=""><span style="font-style: normal; font-size: 36px;" class=""><font color="#e63b7a" class="">Internationale Filmfestspiele Berlin </font></span><div class=""><font size="5" color="#e63b7a" class=""><span style="font-style: normal;" class="">february 10 – 20, 2022</span></font><br class=""><br class=""><div class=""><br class=""></div><div class=""><span style="font-family: Helvetica-Light; font-size: 14px;" class="">We are extremely happy and honoured to contribute to </span><span style="font-style: normal; font-size: 14px;" class=""><b class=""><font color="#e63b7a" class="">Berlinale 2022</font></b></span><span style="font-family: Helvetica-Light; font-size: 14px;" class=""> with several world & international premieres: </span><span style="font-style: normal; font-size: 14px;" class=""><b class=""><font color="#e63b7a" class="">Berlinale Shorts</font></b></span><font class=""><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class=""> has invited Mo Harawe’s latest narrative short </span></font><span style="font-style: normal; font-size: 14px;" class=""><b class="">Will My Parents Come to See Me</b></span><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class=""> which accompanies a young inmate through the procedures of the Somali justice system as well as Wilbirg Brainin-Donnenberg’s experimental short </span></font><span style="font-style: normal; font-size: 14px;" class=""><b class="">Dirndlschuld</b></span><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class="">, a multi-layered reflection on (more than) one piece of Austrian heritage.</span></font></font><span style="font-style: normal; font-size: 14px;" class=""><b class=""> <font color="#e63b7a" class="">Forum Expanded</font></b></span><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class=""> will present </span></font><span style="font-style: normal; font-size: 14px;" class=""><b class="">vs</b></span><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class=""> by Lydia Nsiah, an immersive exploration of the dynamics between time and body in film.</span></font><br class=""><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class="">Furthermore </span></font><span style="font-style: normal; font-size: 14px;" class=""><b class=""><font color="#e63b7a" class="">Critics' Week</font></b></span><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class=""> will screen Norbert Pfaffenbichler’s </span></font><span style="font-style: normal; font-size: 14px;" class=""><b class="">2551.01</b></span><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class=""> as part of a stunning double feature.</span></font><div class=""><font face="Helvetica-Light" class=""><span style="font-style: normal; font-size: 14px;" class=""><br class=""></span></font></div><div class=""><font face="Helvetica-Light" class=""><span style="font-style: normal; font-size: 14px;" class="">Congratulations to the filmmakers and their teams !</span></font></div><div class=""><font face="Helvetica-Light" class=""><span style="font-style: normal; font-size: 14px;" class=""> </span></font><br class=""><br class=""><span style="caret-color: rgb(230, 59, 122); color: rgb(230, 59, 122); font-size: large;" class="">____</span><br class=""><font size="5" color="#e63b7a" class=""><span style="font-style: normal;" class="">Berlinale Shorts </span></font><a href="https://www.berlinale.de/en/news-topics/news/detail_119371.html" class="">—></a><br class=""><br class=""><br class=""><div class=""><font size="5" class=""><span class=""><b class="">Will My Parents Come to See Me </b></span></font></div><div class=""><font size="4" class="">Mo Harawe</font></div><div class="">AT/DE/SOM 2022, 28 min<br class=""><br class=""><img apple-inline="yes" id="D6AE4B11-BF0B-4E86-9C59-38D1C4AE9F3D" class="" src="cid:ED885B4E-5BE9-43A9-9A82-1E9B0CD2E26F"> <img apple-inline="yes" id="A4562AFD-5288-4CA5-9D50-FB3CDA2ADB3D" class="" src="cid:DF1B137B-E388-46FB-ACED-8E2CED178306"> <img apple-inline="yes" id="F6669D9F-BBC5-4918-A2FB-A6639397DCA4" class="" src="cid:24C6D4E0-4719-48E7-9747-C52691C1268D"><br class=""><br class=""><span class="" style="font-family: Helvetica-Light; font-size: 14px;">"Somalia. A policewoman sits in her parked car. After a while, she gets out, puts on her service cap, and enters the prison. There, decisive hours have dawned for young Farah. Organizational machinery starts up around him. Farah is examined by a doctor, instructed by the bailiff, and looked after by an imam. Farah is waiting for his parents to visit. <br class="">“How are you?” is the question everyone asks him that day. Each time, “Good” is his concise answer. Only when the policewoman takes Farah out of town the next morning does the unspeakable become a painful reality“. </span><font face="Helvetica-LightOblique" class=""><span class="" style="font-size: 14px;"><i class="">(Dominique Gromes)</i></span></font></div><div class=""><a href="https://www.sixpackfilm.com/en/catalogue/2763/" class=""><span class="" style="font-size: 14px;"><i class="">—</i></span><i class="" style="font-size: 14px;">>></i></a></div><div class=""><br class=""></div><div class=""><br class=""></div><font size="5" class=""><span style="font-style: normal;" class=""><b class="">Dirndlschuld</b></span></font></div><div class=""><font size="4" class=""><span style="font-style: normal;" class="">Wilbirg Brainin-Donnenberg</span></font></div><div class="">AT 2021, 15 min<br class=""><br class=""><img apple-inline="yes" id="2D9F8B9C-5C97-441A-A266-9E8330B7A996" class="" src="cid:9CCB07F3-21D7-4732-8053-9B6D8A004FE4"> <img apple-inline="yes" id="AE89E8E4-F0BF-4917-9B35-80E51E2070B3" class="" src="cid:36EA3712-2AD8-4C08-9C8F-FEABA352DD35"> <img apple-inline="yes" id="BE1319A2-AA6B-4E6C-B61F-483AF598797D" class="" src="cid:10637AB2-1F62-433F-9F6A-7DDF3E3109F4"><br class=""><br class=""><font face="Helvetica-Light" class=""><span style="font-style: normal; font-size: 14px;" class="">For some the Dirndl is just a pretty, colorful dress with an apron, for
others it is a lifelong confrontation. Just like garments also locations
are contaminated and are subjected to different interpretations by
family history. Each generation has its own way to read those
narratives, that have put layer upon layer until no one can be sure what
is underneath.</span></font></div><div class=""><font face="Helvetica-Light" class=""><span style="font-style: normal; font-size: 14px;" class=""> </span></font></div><div class=""><span style="font-size: 14px;" class=""><font face="Helvetica-Light" class="">"The pictures – Super-8 shots from vacation photographs – show a summer idyll of the second order, with gorgeous but
also unreal colors and moods, and scenery reminiscent of landscape
painting. In Dirndlschuld, with her calm voiceover and
these images, Wilbirg Brainin-Donnenberg lays bare the traces of her own
family history, which prove to be representative of the Austrian way of
dealing with the past. The term “dirndl guilt”, embroidered in the
title insert as if out of naiveté, points to the fact that behind the
seemingly innocently beautiful Austrian cultural landscape, an abysmal
history is concealed“. </font><font face="Helvetica-LightOblique" class=""><i class="">(Bert Rebhandl) </i></font></span><font face="Helvetica-LightOblique" class=""><i class=""><br class=""></i></font><a href="https://www.sixpackfilm.com/en/catalogue/2714/" class="">—>></a><br class=""><br class=""></div><div class=""><br class=""><br class=""></div><div class=""><span style="caret-color: rgb(230, 59, 122); color: rgb(230, 59, 122); font-size: large;" class="">____</span> <br class=""><font size="5" color="#e63b7a" class=""><span style="font-style: normal;" class="">Forum Expanded </span></font><a href="https://www.berlinale.de/en/news-topics/news/detail_119374.html" class="">—></a><br class=""><br class=""><br class=""><font size="5" class=""><span style="font-style: normal;" class=""><b class="">vs </b></span></font><br class=""><font size="4" class=""><span style="font-style: normal;" class="">Lydia Nsiah</span></font></div><div class="">AT 2021, 7 min 30 sec</div><div class=""><br class=""><img apple-inline="yes" id="B903EBD7-136A-4EE2-A763-C681F729D7AB" class="" src="cid:5F29CF18-A263-4ABB-92B1-F0509A1F2EC1"> <img apple-inline="yes" id="8AE1095B-169D-45ED-9002-97647B8820F8" class="" src="cid:2308B7A3-D9C1-47CB-A337-F9493FD22C2D"> <img apple-inline="yes" id="BAC9DFD5-16CE-4207-BB58-CF692BA609FB" class="" src="cid:DB443938-1031-43C2-8BE2-C45297CF1717"><br class=""><br class=""><font face="Helvetica-Light" class=""><span style="font-style: normal; font-size: 14px;" class="">vs (or "virtual spiral") deals with the dynamics between time and body in film. On digital video and non-reliable 16mm-film the processual of time and (film) body is visually transformed by spiraling camera movements. Here, contrary movements, distance and proximity or depth and surface enter into a dialogue with each other. The spiral runs like a thread through the film vs. For creating the spiraling effect the artist Lydia Nsiah invented a camera tracking machine and shot in-studio, operating the movements of the camera live while recording.</span></font></div><div class=""><a href="https://www.sixpackfilm.com/en/catalogue/2705/" class="">—>></a><font face="Helvetica-Light" class=""><br class=""></font><br class=""><br class=""><br class=""><font color="#e63b7a" size="4" style="font-style: normal;" class="">____</font><br class=""><font size="5" color="#e63b7a" class="">Woche der Kritik / Critic’s Week </font><a href="https://wochederkritik.de/en_US/" class="">—></a><br class=""><br class=""><br class=""><font size="5" class=""><span style="font-style: normal;" class=""><b class="">2551.01 </b></span></font></div><div class=""><font size="4" class=""><span style="font-style: normal;" class="">Norbert Pfaffenbichler</span></font></div><div class="">AT 2021, 60 min<br class=""><br class=""></div></div></div></div><div class=""><img apple-inline="yes" id="7012E218-1348-4C65-9F83-0ACC01616C0A" class="" src="cid:CE3E041C-DD7C-4EDB-90B2-05D405D5D09B"> <img apple-inline="yes" id="3D8082C9-8949-47DF-9744-3E7C4308D917" class="" src="cid:AE9D1F66-DB6B-45A5-B088-5272A8F933B8"> <img apple-inline="yes" id="AF523DA9-42C3-4115-8B96-5F0B17DD6F39" class="" src="cid:B10D8057-3DDD-4458-80E5-140596817FA9"></div><div class=""><br class=""></div><div class=""><font face="Helvetica-Light" class=""><span style="font-size: 14px;" class="">"One-hundred years lie between Chaplin’s first feature-length film and Pfaffenbichler’s very loose interpretation of it. The Kid,
filmed in 1920, is a story from the realm of the "lumpenproletariat", a
tragi-comic moral tale of an abandoned child and police brutality. 2551.01 is
all of that, too—and is, after all, at a distance of 100 years and all
kinds of breaks in cinematic history and countless wars from Chaplin’s
bittersweet patchwork comedy. The director calls his toxic genre blend a
“dystopic slapstick film.” The false clown, sod, and nightmare visages, which the amateur ensemble
wears, define this low-budget grotesque, which is set in the passageways
of a sewer system, bunkers, and dark cellars, without windows, without
daylight, without escape. Chaplin’s tramp turns into a man in a monkey
mask, who takes in an abandoned child and hesitantly looks for a place
for his charge in the violent and zombie world he inhabits". </span></font><font face="Helvetica-LightOblique" class=""><span style="font-size: 14px;" class=""><i class="">(Stefan Grissemann) </i></span></font></div><div class=""><a href="https://www.sixpackfilm.com/en/catalogue/2608/" class="">—>></a></div><div class=""><br class=""></div><div class=""><br class=""></div><div class=""><br class=""></div><div class=""><span style="caret-color: rgb(230, 59, 122); color: rgb(230, 59, 122); font-size: large;" class="">____</span></div><div class=""><span style="font-size: 14px;" class="">more informations on each film can be found in our online-catalogue </span><a href="https://www.sixpackfilm.com/en/" class="">—>></a></div><div class=""><span style="font-style: normal;" class=""><font size="5" class="">sixpack<b class="">film</b></font></span></div><div class=""><span style="font-style: normal;" class=""><font size="5" class=""><b class=""><br class=""></b></font></span></div></div></body></html>