This year has been a difficult one for all of us. Many things are very different from what we are used to, so it was all the more important for us to have our Bimovie Women’s Film Festival take place – despite all difficulties.
Unfortunately, cinemas are affected by the government’s decision to impose a partial lockdown and therefore will have to close their doors starting on 2nd of November. In case you’ve already bought cinema tickets, don’t worry, they will be automatically reimbursed by the cinema – just be patient, as the ticket provider services about 2500 cinemas.
For reasons mentioned above, our festival will EXCLUSIVELY take place ONLINE this year. Our online ticket sale will start, as soon as the streaming service has been uploaded and activated – this will be the case no later than the day our festival kicks off on 5th of November at 6:30 p.m. sharp.
You can choose between single tickets, single tickets with a solidarity contribution for the Neues Maxim cinema and a festival pass (payment options are credit card and PayPal). Tickets and the festival pass are available on the respective film description pages.
Any further program changes will be published on our website. Please check our website or go to www.filmstadt-muenchen.de for all information regarding the ONLINE presentation of our films.
Please be aware that physical distancing rules are in effect and that you are required to wear masks everywhere, except when seated inside the cinema. We appreciate our guests coming in groups (in compliance with the current Coronavirus rules), so that we can use our limited seating capacities as effectively as possible.
The Coronavirus has greatly impacted the world of cinema, at least for the time being. Many of this year’s new films went unnoticed amid the restrictions. With our Women’s Film Festival we want to do our part in making sure that at least a few of those wonderful films get the attention they deserve.
Our opening film Uferfrauen is a charming and profound film by Barbara Wallbraun about lesbian life and love in the German Democratic Republic – a film that won’t make you laugh, but is yet powerful and encouraging. Next in line is Heavy Craving, the spectacular debut of director Pei-Ju Hsieh from Taiwan who questions social body standards by means of the dramedy genre. The Australian film Coming Back Out Ball Movie documents the organizing of a festive ball event for queer elderlies. This film is a great plea for more integration and appreciation of older LGBTIQ* people and their political achievements for the queer community. In Speak Up, black women from Europe raise their voices to define a black female perspective from their point of view. The short film Portrait of my Mother, which tells the story of abuse and coming to terms with it, is the supporting film for Overseas, which takes a brutally honest look at the calamity of modern slavery. The solidarity among the women is a spark of hope within the sinister parallel world portrayed in this film. In Mouthpiece by Patricia Rozema, the protagonist Cassandra is tasked with organizing her mother’s funeral within 48 hours, throwing her into an identity crisis that escalates in increasingly absurd ways – an atmospheric drama about death that defies all genre conventions. Leonie Krippendorff’s Kokon is a beautiful coming of age drama about young love and hot summer days in Berlin. Last but not least, in Walchensee Forever, director Janna Ji Wonders describes the story of her family from the perspective of the women, each of whom braves the patriarchal structures of their time in their own way.
We hope you will enjoy this week of exciting films and inspiring discussions.
Moana Bauer, Anne Daschkey, Monique Farrar, Julia Fuhr Mann, Harriet Hoefer, Karin Hofmann, Annette Müller.