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Inventories of a City: Munich Revisited

The film program "Inventories of a City: Munich Revisited", curated by Can Sungu, brings together cinematic perspectives that illuminate the plural and multifaceted histories of Munich. Films by Cana Bilir-Meier, Daniel Asadi Faezi, Kevin Jerome Everson, Hans Andreas Guttner, Narges Kalhor, Mila Zhluktenko, and Želimir Žilnik are presented as part of the exhibition "Carrying" in cooperation between Museum Brandhorst and Munich International Film Festival.

Program

Munich has many faces on film—not all of them immediately recognizable. The complexity of the city’s history and its narratives are inscribed in the places themselves, in visible and invisible traces that have left their mark on the collective memory of the city. The program brings together historical and contemporary cinematic positions that look at Munich through migrant and post-migrant perspectives—negotiating questions of identity, memory, and the power of storytelling. Together, the films create a polyphonic inventory of the city—beyond the images attributed to it.

Želimir Žilnik, Inventur – Metzstraße 11 (1957)

Short films: Želimir Žilnik in Munich

Short films: ICH WEISS NICHT, WAS SOLL ES BEDEUTEN (1975), ÖFFENTLICHE HINRICHTUNG (1974), HAUSORDNUNG (1975), UNTER DENKMALSCHUTZ (1975), ANTRAG (1974), INVENTUR – METZSTRASSE 11 (1975), ABSCHIED (1975)

Given less and less of an opportunity to work in Yugoslavia in the early 1970s, Želimir Žilnik moved to Munich and spent some years there in exile. During that time, he created a series of short, often spontaneously produced films. These examined the lived experiences of migrant workers in West Germany with documentary directness and dry humor, while also acutely and ironically scrutinizing the social rituals, bureaucratic procedures, and cultural peculiarities of a West German society obsessed with order. Žilnik’s Munich works are being presented together in their entirety for the first time. At Museum Brandhorst, Žilnik and curator Can Sungu discuss their cinematic practice and the circumstances that connect these films to the present—exploring questions of identity, migration, and the power of storytelling.

Talk | 30.06.2026
Screening | 30.06.2026
Screening | 05.07.2026
Cana Bilir-Meier, Zwischenwelt (2023)

Short films: Situating / Remembering

The short films by Daniel Asadi Faezi, Mila Zhluktenko, and Cana Bilir-Meier, made in recent years, are presented together in a single program. Drawing on archives, memories, and urban spaces, they expand the contemporary view of the city through post-migrant perspectives.

Short films: WAKING UP IN SILENCE (Daniel Asadi Faezi, Mila Zhluktenko, Germany 2023), CRITICAL CONDITION (Mila Zhluktenko, Germany 2025), RÜCKBLICKEND BETRACHTET (Daniel Asadi Faezi, Mila Zhluktenko, Germany 2025), THIS MAKES ME WANT TO PREDICT THE PAST (Cana Bilir-Meier, Germany 2019), ZWISCHENWELT (Cana Bilir-Meier, Germany 2023)

Screening und Q&A | 28.06.2026
Hans Andreas Guttner, Im Niemandsland (BRD 1983)

Im Niemandsland

Hans Andreas Guttner | West Germany 1983 | 75 min.

As the third installment of Hans Andreas Guttner’s migration pentalogy “Europa, ein transnationaler Traum,” IM NIEMANDSLAND portrays young men from Turkish families in Munich in the early 1980s who are marginalized by mainstream society. Shaped by constant uncertainty in their community, they gravitate toward a counterculture inspired by James Dean and Elvis Presley. Caught between their parents’ expectations and a society that offers them few prospects, they create their own rituals and spaces that involve rock ’n’ roll outfits, karate training, and odd jobs

Screening | 29.06.2026
Screening | 05.07.2026

Carriers: Cinevan

In June and July, Carriers will involve the local filmmaker and artist Patrik Thomas, Lothringer 13 Halle, Museum Brandhorst, and Munich International Film Festival in a series of open-air film screenings across the city, examining continuities between the political past and present. Thomas’s mobile cinema, Cinevan, functions as a workshop, archive, and traveling platform. With a site-specific moving image program, it will activate locations in Munich, such as the Kunstareal and Sinti-Roma-Platz—places with histories that are often invisible or dominated by hegemonic narratives. With Cinevan, Carriers understands cinema as an ongoing democratic negotiation in public space—and collective viewing as an act of solidarity.

Narges Kalhor, Shahid (2024)

Kunstareal: Shahid

SHAHID is at once a political drama and a comedy of desperation. At the heart of Kalhor’s autofictional film is a wish to change her name: the director wants to remove the word “Shahid” (martyr)—an honorary title bestowed upon her great-grandfather in Iran a hundred years earlier—from her name. This not only conflicts with his wishes but also triggers bureaucratic complications with the authorities in Bavaria. A deeply personal film that playfully and across genres questions radical ideologies — while never quite taking itself too seriously.
SHAHID will be shown on June 28 in the outdoor space of Museum Brandhorst with the Cinevan of Patrik Thomas, in collaboration with Lothringer 13 Halle. The screening will be preceded by a conversation between Can Sungu, Narges Kalhor, and Patrik Thomas.

Open-Air Screening | 28.06.2026
Filmstill, Atide (Daniela Magnani Hüller, 2022)

Sinti-Roma-Platz: ATIDE, WESLEY SWIMS, 15 MINUTES

At Sinti-Roma-Platz, the Cinevan presents the curated film program “Carriers”—three short films that foreground the lived experiences of young Sinti* and Roma* people across documentary and fiction, placing their voices center stage. The program features ATIDE (Daniela Magnani Hüller, 2022, 12 min), WESLEY SWIMS (Adrian Oeser, 2024, 31 min), and 15 MINUTES (Sejad Ademaj, 2022, 13 min). The open-air screening takes place on July 11, 2026, in collaboration between Museum Brandhorst, Lothringer 13 Halle, Munich International Film Festival, RomAnity e.V., and the Rolling Film Festival.

Open-Air Screening | 11.07.2026

Carrying

Already in its title, “Carrying” points to how places carry certain (hi)stories. This exhibition project with its accompanying events activates various spaces inside and outside Museum Brandhorst. International artists, including Hêlîn Alas, Cana Bilir-Meier, Louise Lawler, Kate Newby, Tiffany Sia, Jaune Quick-to-See Smith, and Leyla Yenirce, occupy historically charged sites—such as Cy Twombly’s “Lepanto” room or the “Türkentor” (Turks’ Gate). Architectural interventions, performances, and paintings, as well as sound and filmic works, engage with the museum and explore the entanglement of military and cultural power.

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