Ein Spaziergang durch die Welt der Pilze, Parasiten,
Symbionten und Zersetzer, bei
dem Ideen von Verbundenheit
und Zusammenwirken geweckt
werden. Der Film lädt zu einer
ein. Was wäre, wenn Pilze uns
helfen könnte, unser Verhält-
nis zu dieser Welt zu überden-
ken und radikal zu verändern?
EN The film takes on a walk alongside parasites, symbionts and decomposers offering ideas of both interconnectedness and collaboration. Driven by a vision of resistance, the encounters seek possibilities of renewal and question what connects us when the world seems to be falling apart. With mushrooms and their allies the film invites to imagine a myco-cultural (r)evolution. What if the fungus could help us address and radically change our re- lationship to this world?
Marion Neumann is a Geneva- based filmmaker. She holds a Master in documentary film / cine- matography from the HFF in Munich. Her first feature THIS MOMENT IS NOT THE SAME (2010) was the result of a community experiment, and pre- miered at Visions du Réel. Her work as a cinemato– grapher screened in many festivals, with films such as WILD PLANTS (2016), by Nicolas Humbert, and NATURALES HISTORIAE (2019), by Pauline Julier. THE MUSHROOM SPEAKS (2021) is her second feature-length film.
Ein 10-jähriger Roma-Jun-ge, der in Schweden lebt, versucht, mit dem mysteriösen
zu werden, das seine beiden
Schwestern ins Koma versetzt hat. Die Familie versucht,
weit weg von ihrer Heimat
Kosovo, wo sie Opfer von
Verfolgung war, ein normales Leben aufzubauen. Der
kleine Junge träumt davon,
ein Raumschiff zu bauen, um
alles hinter sich zu lassen.
EN A 10-year-old Roma boy living in Sweden attempts to come to terms with the mysterious resignation syndrome that has put his two sisters in a coma. The tight-knit family is trying to rebuild a normal life far from their native Kosovo where they were victims of persecution. While their entire future hangs in the balance of a pending asylum request, the little boy dreams of building a spaceship to leave it all behind.
Dea Gjinovci is a Swiss- Albanian director-producer based in between Paris and Geneva. She participated in the 2021 UnionDocs lab in NYC, the 2019 Sundance Talent Forum and is a 2019 Film Independent Fellow. Her short documentary Sans le Kosovo won Best National Film at Dokufest in 2017. Her debut feature-length documentary Wake Up on Mars was premiered virtually at the 2020 Tribeca Film Festival and Visions du Réel in Switzerland. She was awarded “Best New Talent” mention at Biografilm Festival 2020 and at ZagrebDox 2021 and nominated for the prestigious “Prix de Soleure” and “Opera Prima” awards at Solothurner Tage 2021.
Der Film thematisiert die Zerstörung eines einzigartigen Bahnhofs in Zürich und den Bau des neuen Gefängnisses und Polizeizentrums an seiner Stelle. Aus der Perspektive des Fensters des Filmemachers und mit Aussagen von Häftlingen, die auf ihre Ausschaffung warten, untersucht der Film, wie wir mit der Auslöschung von Geschichte und ihrer Ersetzung durch totale Sicherheit umgehen.
EN The film explores the destruction of a unique train station in Zurich and the construction of a new prison and police center in its place. From the perspective of the filmmaker’s window, and with testimonies by prisoners awaiting deportation, the film probes how we deal with the extinction of history and its replacement with total security.
As one of Switzerland’s most innovative and internationally-renowned filmmakers, Thomas Imbach moves between documentary and fiction. The feature films HAPPINESS IS A WARM GUN (2001), LENZ (2006) and I WAS A SWISS BANKER (2007) as well as the auto-fiction DAY IS DONE (2011) premiered at the Berlinale. His English-language period drama MARY QUEEN OF SCOTS (2013) was selected for Toronto Film Festival. His fiction feature MY BROTHER MY LOVE (2018) premiered at Locarno Film Festival in Competition. NEMESIS won the award for “Best Cinematography” at IDFA 2020.
Was bedeutet es, wenn künstliche Intelligenz zunehmend unsere Freiheitsrechte bestimmt? Und was sind insbesondere Folgen für diskriminierte Gruppen?
EN Modern society sits at the intersection of two crucial questions: What does it mean when artificial intelligence (AI) increasingly governs our liberties? And what are the consequences for the people AI is biased against? When MIT Media Lab researcher Joy Buolamwini discovers that most facial-recognition software does not accurately identify darker-skinned faces and the faces of women, she delves into an investigation of widespread bias in algorithms. From facial scanning used for policing and surveillance to automated HR systems that mirror and magnify workplace prejudices, the film illuminates misconceptions about AI and emphasizes the urgent need for legislative protection.
Shalini Kantayya directed the season finale for the National Geographic series Breakthrough with executive producer Ron Howard. Her debut feature film Catching the Sun premiered at the Los Angeles Film Festival and was named a New York Times Critics’ Pick. The film released globally on Netflix on Earth Day 2016 with executive producer Leonardo DiCaprio and was nominated for the Environmental Media Association Award for Best Documentary. Coded Bias premiered at Sundance Film Festival. Kantayya is a TED fellow.
Der Film zeigt die Arbeit von maritimen Hilfsorganisationen in Irland, England und den Niederlanden.In eindringlichen Bildern wird das ambivalente Verhältnis zwischen Gesellschaft und bedrohten Ökosystemen offengelegt.
EN Storms unleash along Europe’s coastlines, taking their toll. Volunteers are preparing for winter. Injured seal pups are nurtured with liquid food and warmed with infra-red lamps. Oil-soiled swans are subjected to foam baths. One stares into the eye of a giant stranded whale. And the whale looks back. In poetic images, Robin Petré traces the gaze between humans and wild animals, narrates the close interweaving of habitats and closes the cycle from perpetrator to helper. Laying bare the ambivalent relationship between society and threatened ecosystems, the haunting imagery patiently and respectfully opens a space for deep reflection.
Robin Petré first studied journalism at the Danish School of Media and Journalism in Aarhus and then documentary film directing in the Doc Nomads program at universities in Portugal, Hungary and Belgium. Her films, which focus on the coexistence of humans with animals and nature, have screened at numerous international festivals and won a number of awards. She is an alumna of the Nordic Film Lab and the IDFAcademy. From the Wild Sea is her debut feature- length documentary.
Der Tiger ist eines der beliebtesten und bedrohtesten Tiere der Welt. In seinen neunjährigen Ermittlungen deckt Karl Ammann die illegale Aufzucht von Tigern in geheimen südostasiatischen Tigerfarmen auf und enthüllt, wie Körperteile von lebenden und geschlachteten Tieren auf dem chinesischen Schwarzmarkt für Arzneimittel und Schmuck gehandelt werden.
EN The tiger is one of the world’s most beloved and threatened creatures. Filmmaker Karl Ammann uncovers their illegal breeding in secret South East Asian tiger farms. His nine-year investigation exposes how body parts are harvested from both live and butchered tigers, and then traded for sale in China’s underground pharmaceutical and jewelery industries. The film has been able to achieve what Interpol and other anti-trafficking organizations have failed to do, infiltrating top syndicates and gaining access to major crime hubs and underworlds.
Karl Ammann is a wildlife photographer, conservation activist and filmmaker, based in Kenya. Ammann studied economics in St. Gallen and Ithaca (USA). He traveled to over 100 countries and is considered one of the world’s leading environmental photographers and filmmakers.
After studying film studies and publishing at the universities of Bern and Zurich, Laurin Merz graduated in the Video at Lucerne School of Art and Design. He worked as an editor for the Swiss Radio and as a editor for Swiss television. Later he became an independent filmmaker.
The research group Forensic Architecture was commissioned by Amel Alzakout to reconstruct the maritime disaster of 2015 and the subsequent rescue operation. Cross-referencing her material with other sources – including thermal camera images, videos of activists, press footage, Greek Coast Guard records, as well as satellite imagery and weather data – helped identifying who might be responsible for the disaster. The result is the two-channel installation
SHIPWRECK AT THE
OF EUROPE, LESVOS, AEGEAN SEA: 28 OCTOBER 2015
The filmmaker of PURPLE SEA documents her experiences of 28 October 2015, based on the same material as in the reconstruction of Forensic Architecture, but in a more immediate way. An overcrowded boat on its way from Turkey to Greece that is shipwrecked. One of the survivors, the artist Amel Alzakout, recorded the ship’s sinking with a waterproof camera she wore on her wrist. The disturbing footage meets the voice of the director as she tries to escape to another safe place, the past or a possible future.
The Syrian artist and filmmaker Amel Alzakout studied journalism at Cairo University. Since 2017 she studied art at the Weißensee Art Academy in Berlin and currently at the Academy of Visual Art (HGB) in Leipzig. Purple Sea had its world premiere at Berlinale and won the Film Prize for International Cooperation Germany/Arab World by the Robert Bosch Foundation.
Der Film ist eine Reise rund um den Globus, auf der wir Menschen begegnen, die vor Angst erstarren, Menschen, die sie suchen, die sie finden, die sie lieben. Unterwegs treffen wir Expert*innen aus Neurowissenschaft, Psychologie und Politik, die uns zeigen, wie unsere Gesellschaft von Angstbotschaften gesteuert wird.
EN The Scent of Fear is a journey around the globe, on which we meet people who freeze with fear, people who are looking for it, people who find it, and people who love it. There is this woman who sets out for the Arctic all alone. There are the radical society-wearies who set up their homes in bunkers, there is the fearful young Korean who learns in a seminar how to die happily. On the way we meet experts from neuroscience, psychology and politics who show us how our society is controlled by messages of fear. The Scent of Fear is an exciting and clever analysis of the universal question of why people are afraid of fear.
Mirjam von Arx studied journalism and worked for close to 20 years as a writer for various magazines. In 1991, she moved to New York and started directing her first films. In 2002 she founded the production company ican films, through which she has produced several award-winning theatrical documentaries, including VIRGIN TALES (Finalist Maysles Brothers Award 2012, Zurich Film Prize 2012). Her latest film THE SCENT OF FEAR won the Migros-Kulturprozent Swiss Documentary Competition and was nominated for the Prix de Soleure 2021. Mirjam von Arx is a member of the European Film Academy as well as the Swiss Film Acadamy.
Ticket price per screening /Ticketpreis pro Veranstaltung
- Normal tickets Normalpreis CHF 10.-
- Reduced* Reduziert* CHF 7.-
* Limited number of free tickets for students of the University of Bern and for visitors up to the age of 18.
To be collected on the day of the screening up to 30 min. before the start time. First come, first serve.
* Begrenztes Kontingent an Freitickets für Studierende der Universität Bern und alle unter 18-Jährigen.
Am Tag der Vorstellung bis zu 30 Min. vor Vorstellungsbeginn abzuholen. First come, first serve.
EthnoKino/The Mushroom Speaks:
No reservation, admission free on donation basis
Keine Reservierung, Eintritt auf Spendenbasis
Tickets available / erhältlich
- on location / vor Ort
- online: www.rexbern.ch
- by phone / telefonisch
031 311 75 75
VENUES / SPIELORTE
Kino Rex Bern
Schwanengasse 9, 3011 Bern
EthnoKino/KINO in der Reitschule
Neubrückstrasse 8, 3012 Bern
For more information: