Flicks: Our Picks

If Marlene Dietrich is the German actress Americans like best, Austrian-born Romy Schneider is Germany’s most beloved. She was also a star in Italy and France, where she lived and worked until the end of her (relatively short) life (Schneider was found dead in her Paris home at 43, from pill and alcohol abuse). For many, she would always remain Sissi, the Austrian empress she played at 17, but the actress went on to work with the world’s greatest directors, from Visconti to Welles and Preminger to Chabrol, Bertrand Tavernier and Claude Sautet. Kino Arsenal’s retrospective focuses on the 1960s, the beginning of her international career.

The Filmmuseum’s exhibition is also worth a look (through May 30). ROMY SCHNEIDER retrospective, March 12-31 | Arsenal Kino, Potsdamer Str. 2, Tiergarten, U+S-Bhf Potsdamer Platz, Tel 030 2695 5100, www.arsenal-berlin.de. Mostly in English or with English subtitles

The Arsenal is honouring the work of French Nouvelle Vague’s most senior filmmaker Eric Rohmer (he was the eldest) who died in January at the age of 90. The selection ranges from little-known early works (the 12-minute short Charlotte and Her Steak, starring Godard’s muse Anna Karina) to some “seasonal tales” such as Conte d’automne (1998, Autumn Tale; the only one shown with German subtitles). Of the bunch, twice-Oscar-nominated Ma nuit chez Maud (1969, My Night at Maud’s) was one of his greatest successes, followed by Claire’s Knee (whose success in America was helped by a poster of sexy Arielle Dombasle in a swimsuit). Interestingly, Rohmer’s films never won the international acclaim of Godard or Truffaut’s, nor enjoyed the wide distribution of his Nouvelle Vague colleagues. Yet his influence – through both his cinematic and critical work – and the coherence of his oeuvre were so great that they inspired a new adjective: “Rohmerian”. There is a Rohmerian way of talking, walking or holding a cup. Rohmer’s low budget, minimalist gems are subtle explorations of human (often gender) relationships: a unique mixture of faux naturalism, wit and revealing content. Rohmerian characters are usually attractive, flirtatious people who discuss, analyse and worry about their actions a lot – in the way the French do so well. This is a rare chance to (re)discover a director seldom seen in Berlin. Too bad the retrospective spans only three decades of Rohmer’s half-century-long career – leaving out his latest films, from L’Anglaise et le duc (2001) to The Romance of Astrea and Celadon (2007), both remarkable statements of a great genius’ undying creativity.

HOMMAGE ERIC ROHMER, Mar 2-11 |Arsenal Kino, Potsdamer Str. 2, Tiergarten, S+U-Bhf Potsdamer Platz, Tel 030 2695 5100, www. arsenal-berlin.de. Mostly French OV with English subtitles

After premiering at the Zoo Palast in 1927, cult science fiction silent Metropolis returns to its heimat for two days in March, after its Berlinale relaunch last month. This version includes lost scenes which were rediscovered in 2008. Stephan von Bothmer, Germany’s most successful silent film pianist, helps bring the story to life, and the second performance includes a special treat: Von Bothmer’s own music puts a modern spin on the classic. His live film music orchestra, which has recorded the soundtracks for numerous silents, will join him.

Metropolis, March 1-2, 20:00 | Zoo Palast, Hardenbergstr. 29a, Charlottenburg, S+U-Bhf Zoologischer Garten, www.ucikinowelt. de/berlin_zoo_palast, www.stummfilmkonzerte.de

This year, Mexico is proud to celebrate its bicentenary as an independent country, yet its emancipation from the strong Hollywood influence that for many decades held down the national film industry came much later. Zeughaus Kino has compiled some of the most recent triumphs of this artistic independence - the renowned Amores Perros (González Iñárritu’s first film of a trilogy completed with the English-language productions 21 Grams and Babel), Y tu mamá también and El crimen del padre Amaro (2002), Oscar-nominated but little-known in Europe; both of the latter star Mexican cutie Gael García Bernal. The series comprises 15 more movies and documentaries that deal with the complex national idiosyncrasies of a fractured society still infused with a strong, archaic faith - and that tackle the intertwined issues of personal relations, sex and the church.

KINOMATOGRAFIE HEUTE: MEXICO, Mar 2-31 | Zeughaus Kino, Deutsches Historisches Museum, Unter den Linden 1, Mitte, S+U-Bhf Friedrichstr., Tel 030 2030 4444, www.dhm.de/kino. OV with English subtitles

For those unable to wait until August for their fix of horror and mystery at Berlin’s annual Fantasy Filmfest, the organisers have added a second event to bring spooky cinema to town: Fantasy Filmfest Nights. Since the zombie trend doesn’t seem to die, this year’s programme includes the new George A. Romero, Survival of the Dead. On the less gory side, Red Riding: 1974, the first part of a trilogy based on David Peace’s novels, takes us back to 1970s Yorkshire and tells the story of small town journalist Edward Dunford, who becomes wrapped up in intrigue and corruption in his search for the perfect story. Splice, starring Adrien Brody, depicts science gone too far as an animal-human hybrid threatens its genitors. Further highlights include the Japanese Summer Wars, the vampire tale Daybreakers and Philip Ridley’s Heartless.

Fantasy Filmfest Nights, March 20-21 | CinemaxX, Potsdamer Platz, Potsdamer Str. 5, Tiergarten, S+U-Bhf Potsdamer Platz, Tel 01805 2463 6299, www.fantasyfilmfest.com

A journey back to the era when film evenings were lightened with variety shows, the Ukelele Orchestra of Great Britain accompanies – with oldie tracks played with straight ukulele chords – an eclectic compilation of found footage and documentary clips, adverts and other silent heirlooms revived from the British Film Institute’s National Archives. The smartly dressed ensemble is bringing this Ukelelescope to Germany for the first time, so be sure to book in advance – their shows often sell out.

UKELELESCOPE, Mar 2, 20:00 | Kino Babylon, Rosa-Luxemburg-Str.30, Mitte, U-Bhf Rosa-Luxemburg-Platz, Tel 030 2425 269

Soccer is a language that’s understood worldwide. The soccer film fest began in 2004 by showing football movies from England, from Fever Pitch to a documentary about the North Korean national team, which sensationally reached the World Cup quarterfinals in England in 1966. Since then, it’s grouped its films around themes such as “Football Gods” and “Football in the GDR”. This year, in anticipation of the South African World Cup, it centers on Africa; it will be adding new international films and kids films to the line-up, and opening with the 2009 winner of the festival’s own “Goldene 11”, Emir Kusturica’s film about the Argentinean hero Maradona.

11mm, 7. International FuSSbalfilmfest, March 13-17 | Babylon Kino, Rosa-Luxemburg-Str. 30, Mitte, U-Bhf Rosa-Luxemburg-Platz

Necessity is the mother of invention - and if you are walled in, then the sky’s the limit. This 1995 documentary by Helmut Wietz explores the vibrant art scene in enclosed West Berlin from the Wall’s erection in 1961 to its fall in November 1989. A community of artists rose from the rubble of WWII to form a unique hothouse for creative expression. Personalities such as Christo and GRIPS Theater’s Volker Ludwig share testimonies about the rhythm of the West’s distinctive ‘art’ beats.

WÜSTE WESTBERLIN, March 11, 20:00 | Zeughaus Kino, Deutsches Historisches Museum, Unter den Linden 2, Mitte, S-Bhf Hackescher Markt, Tel 030 2030 4444, www.dhm.de/kino. With English subtitles.