The German Film Festival will take place nationally from 2 May to 24 May in Sydney, Melbourne, Adelaide, Perth, Canberra, Brisbane and Byron Bay.
2023 GERMAN FILM FESTIVAL PROGRAMME UNVEILED
FEMALE FILMMAKERS IN THE SPOTLIGHT
One of Australia’s largest European language film festivals, the German Film Festival is back. This year, the festival showcases the best of contemporary German, Austrian, and Swiss German cinema in seven cities around the country: Sydney, Melbourne, Brisbane, Perth, Adelaide, Canberra, and Byron Bay.
With 33 films, the festival includes a set of key features straight from one of the world’s most respected major film festivals: Berlinale. Elsewhere, the program comes to life with focused programming on the work of female directors, films of New German Cinema, and a retrospective of dynamic music films entitled Music, Art and Chaos.
German Film Festival 2023 is presented by Palace in cooperation with German Films.
For detailed information please visit: https://www.palacecinemas.com.au/festivals/german-film-festival/
Some of the Films featured will be:
 | A Thousand Lines (Tausend Zeilen) |
 | The Teachers' Lounge (Das Lehrerzimmer) |
 | Sisi & I (Sisi & Ich) |
 | Merkel |
 | FCK 2020- Two And a Half Years with Scooter (FCK 2020- Zweieinhalb Jahre mit Scooter) |
 | Family Affairs |
Our Pick
B-Movie: Lust & Sound in West-Berlin 1979-1989
The establishment of Berlin as Europe’s bohemian capital is usually accredited to two men: David Bowie and Iggy Pop. B-Movie delves into the turbulent history of the decade before German reunification when artists and musicians from around the world followed in their footsteps and flocked to what was then West Berlin. Our guide is Mark Reeder, a British musician and producer who moved to the divided city from Manchester in 1979. Composed largely of previously unseen archive footage, sights abound on this gritty, fast-paced tour through West Berlin: Keith Haring painting on the Berlin Wall; confrontations between squatters and West Berlin police; performance art in streets and galleries; and Reeder’s once flatmate Nick Cave’s bedroom. The frenetic energy of the footage is matched by the soundtrack, which does well to capture the city’s sound during a decade of diverse and divergent musical innovation. As he reminisces on the freedom, excesses, and casualties of the era, in the end, it’s as much the fascinating personal story of Reeder’s life as it is a musical history of Berlin. Rarely does nostalgia make for such exhilarating cinema.