Short Film Program for »Minis«

Short Film Program for »Minis«

The »Minis« film pro­gram at LUCAS is some­thing very spe­cial this year: Children from the second gra­de of the Grüne Soße day­ca­re cen­ter put tog­e­ther their own pro­gram. They choo­se films from the Cinemini Europe film cata­log. This is a European film edu­ca­ti­on pro­ject for child­ren aged three to six. 

In a work­shop with film edu­ca­tor Nils Brunschede, the child­ren them­sel­ves deci­de which films to share with the audi­ence, what title to give the pro­gram and which accom­pany­ing acti­vi­ty units will take place in the cine­ma. There are many dif­fe­rent films in the Cinemini cata­log: expe­ri­men­tal, old and ani­ma­ted films. They were not made espe­ci­al­ly for child­ren, but were sel­ec­ted espe­ci­al­ly for children.

Nils Brunschede will host the Cinemini pro­gram on Festival Sunday. He brings the child­ren’s ide­as to the screen on behalf of the group. The audi­ence can look for­ward to a film pro­gram with fun, playful acti­vi­ties. Perhaps the­re will be pain­ting, dancing or a lar­ge net of thread stret­ched bet­ween the cine­ma seats bet­ween the films – the child­ren deci­de what exact­ly happens! 

During the pro­gram, it is the­r­e­fo­re express­ly per­mit­ted to laugh, speak and move around the audi­to­ri­um. Where can you find such a thing, some of you may ask. Right here! Everyone – child­ren, par­ents, grand­par­ents – is cor­di­al­ly invi­ted to be ama­zed, have fun and be sur­pri­sed by the sel­ec­tion of films. 

Cinema Tickets for Individuals
SO, Sep. 28 | 10 a.m. | DFF Cinema

»LUCAS for Families« on Sep. 28:
Families recei­ve free admis­si­on. Please reser­ve your cine­ma visit via tele­pho­ne (+49 69 961 220 – 678) or via e‑mail (lucas-info@dff.film).

Grüne Soße presents: Busy Films

HU/FR/NL/YU 1895–2013. D: div. No dia­lo­gue. Suitable from age 0. Recommended from age 3. 

TÉR |
The Square

Tér. HU 1971. D: István Szábo. 5 min.
A boy dra­wing some let­ters on the walls of a town­house with a pie­ce of chalk leads us to the adja­cent squa­re, whe­re public life is taking place on a sun­ny day: Children, women, men, young and old — ever­yo­ne is at play, cha­sing each other, dancing with each other, tal­king or shou­ting, always on the move. The came­ra cap­tures this moment of coll­ec­ti­ve life in a breath­ta­kin­gly flowing move­ment and gives us the fee­ling that we could be any one or all of them at the same time, clo­se to ever­y­thing and at the same time far away.

The child­ren’s reaso­ning: “The pic­tu­re is so colorful and very lively. And the­re are so many child­ren and I think tha­t’s just great.” 

WORKSHOP RECYCLERS #1: PARIS

FR 2013. D: Nikki Schuster, Antonin Feraud, Yohann Giraudeau, Alexis Godard, Nicole Guyot, Ambre Masson, Anne Mpay, Achylle Pascanet, Aurélien Robert, Sacha Robert, Rémy Verroust. 4 min.
You can go to Paris and see the Eiffel Tower, the Louvre or the Arc de Triomphe. Or you can expe­ri­ence this city dif­fer­ent­ly by loo­king at the graf­fi­ti on the side­walk, the pos­ters on the walls and all the litt­le things that peo­p­le have thrown away: Nikki Schuster brings a second kind of life to this city by — in a work­shop tog­e­ther with a group of child­ren — ani­ma­ted litt­le crea­tures, ani­mals and mons­ters out of Coke cans, pie­ces of wire, tapes — in other words, all the things that lie around on the street and are negle­c­ted by people.

The child­ren’s reaso­ning: “We thought the robots were cool.”

SALLY

NL 2005. D: Launa Maurer, Roel Wouters. 2 min.
One lar­ge and about three dozen small marbles in a white, bright­ly lit room with a tiled struc­tu­re. They move from left to right, from front to back and sud­den­ly start to jump, to the right wall, to the cei­ling and back down again. Are the­se marbles real­ly only objects or eyes that can defy the rules of gra­vi­ty? Do we look up or down, is the­re even a space and if so, whe­re is it?

The child­ren’s reaso­ning: “You can real­ly obser­ve gra­vi­ty. The movie is even coo­ler when you know how it was made.”

A VISIT FROM THE SPACE

Posjet iz svemi­ra. YU 1964. D: Zlatko Grgić. 12 min.
A young girl plays in the gar­den in front of her fami­ly’s house. Suddenly a UFO appears. Two ali­ens get out and after one has fled in fear, the other gets to know the girl and slow­ly beg­ins to trust her. When she is cal­led to din­ner by her par­ents, the ali­en remem­bers his mother, who is wai­ting on the distant pla­net from which he came. With the help of the gir­l’s dra­gon, the ali­en mana­ges to return home, lea­ving a trail of gna­wed app­les in his wake.

The child­ren’s reaso­ning: “We cho­se the movie becau­se the ali­ens are so fun­ny. The one ali­en is first afraid to take the apple and then makes his arm real­ly long. I think tha­t’s funny.”

TABLES TURNED ON THE GARDENER

L’Arroseur Arrosé. FR 1895. D: Cinématographe Lumière.
A gar­de­ner is wate­ring his plants when the water sud­den­ly stops flowing. When he puts his face to the nozz­le to see what could be caus­ing it, the water starts flowing again and splas­hes him direct­ly in the face. Who is behind the prank? The film was one of the first ten films to be scree­ned publicly by the Lumière brot­hers and is often descri­bed as the first film to use a sus­pen­se structure.

The child­ren’s reaso­ning: “I think it’s fun­ny that the boy in the pic­tu­re is stan­ding on the gar­den hose and the gar­de­ner is hol­ding it to his head and let­ting go — and then the water is splas­hing in his face.”