About the event
The popular joint project of Hamburg's arthouse and art house cinemas goes online. The cinemas have already closed again for over three months during the pandemic, so we definitely want to send a sign of life to our audience. Now we are taking our annual cinema event, in which all of Hamburg's art house cinemas show a Hamburg cult film in sold-out houses on one Sunday, to the World Wide Web.
The heart of the joint cinema event is traditionally the film team's journey through the cinemas, the cinema talks and, of course, a film location tour to the original sites. We are now making all this possible in a charming online variant.
COURSE OF THE ONLINE ACTION
On February 27 and 28, 2021, the film and the accompanying supporting and film program will be offered nationwide on the Pantaflix streaming platform. The online event can be accessed via www.eine-stadt-sieht-einen-film.de and also via the websites of the 17 participating cinemas from February 27 00:00 to February 28 23:59. Streaming is free of charge.
SUPPORTING PROGRAM IN THE STREAM
LOCATION TOUR with leading actor Charly Wierzejewski to original locations: e.g. Reeperbahn, Elbtunnel, Villa Jako
TALK with actress Eva Mattes
INTERVIEW with director Roland Klick
ARCHIVE-INTERVIEW 1997 with Roland Klick and cameraman Jost Vacano
ACCOMPANYING FILM PROGRAM IN STREAM
JIMMY ORPHEUS (1966) - Klick's atmospheric, medium-length debut about a night in the life of a Hamburg dockworker in black and white aesthetics
ROLAND KLICK - THE HEART IS A HUNGRY HUNTER (2013) - documentary by Sandra Prechtel about the cinematic work of Roland Klick with beautiful interview sequences.
IN ADDITION ALREADY BEFORE THE KLICK-WEEKEND
PHOTO EXHIBITION ON THE FILM LOCATIONS on filmtourismus.de from 15.2.
PHOTO EXHIBITION IN PUBLIC from 15.2. in Hamburg
QUIZ on the film with raffle (T-shirts and original poster photos of the film, cinema posters, free tickets for Hamburg cinemas) from 15.2.
LIVE-QUIZ to the topic "The supermarket in the film" on 23.2. 20.00 by zoom "in" the Abaton
EINE STADT SIEHT EINEN FILM ONLINE - EDITION is a joint event of Hamburg's arthouse and art house cinemas with the support of Filmförderung Hamburg Schleswig-Holstein as well as the streaming platform Pantaflix and the film distributor Filmgalerie 451.
About the movie
With SUPERMARKT we present this time Roland Klick's milieu thriller with exciting film locations and a time travel to Hamburg in the 1970s. SUPERMARKT is still a little-known pearl of German and Hamburg film history. This has to change! What's it about.
The only thing certain in Willi's life on the streets of 1970s Hamburg is the finality of the downward spiral that drags him down. The petty criminal, who has just come of age, wanders without any real chance of a better future between the hovel of his hoodlum buddy Theo, the sofa of the helpful but ultimately career-motivated reporter Frank and the beds of rich johns, and despite offers of help from outsiders, does not manage to leave his past behind. Only in his love for the prostitute Monika does Willi experience a glimmer of hope, but just because she is worse off than he is doesn't make things any better.
SUPERMARKT is a milieu study in the guise of a fast-paced crime film, but without hiding its intentions. Instead of a moralizing index finger, which was common among filmmakers in those days, the German genre film convinces with unsparing directness. In choosing Charlie Wierzejewski as the lead actor, Roland Klick opted for authenticity rather than acting training, as it were; real-life experiential values permeate Willi's movements, whether he is running away from policemen or turning away from yet another stifled future opportunity full of routine frustration, moving on without hesitation, detached, constantly driven, until he really has nothing and no one left.
One has the feeling of following Willi into the cramped pubs and being thrown out with him because we don't have enough dough or simply the wrong hairstyle, gawking down at Monika together in the circle of the remaining passers-by, But we also feel how sticky the mascara dries on our cheeks and how mercilessly the wind whistles through the cracks of the condemned building at the harbor, where Theo holds his shooting practice right in the hallway. No view beyond streetcar bridge level, there is no behind, no after, only what is happening right before our eyes. And if you take a step back from the grueling lack of perspective of the proletarian protagonists, you can briefly marvel at the image Hamburg must have given fifty years ago: ostentatious for the rich on the Elbchaussee, littered with butts, rejecting for the fringe groups, characterized by threshold spaces like train stations and wastelands that can never be used by the latter for a transition.