Love and so forth
Munich, 1968: a period of liberation, student revolts, state repression. Amidst the restlessness, chemistry student Robbie meets the Irish cello player Nancy. They feel compelled to pursue a passion in spite of their careers. But does romantic love have a place in such convoluted, contesting times?
George Moorse
Casts & Crew
Vera Tschechowa
Vadim Glowna
Claudia Bremer
Rolf Zacher
David Llewellyn
Nikolaus Dutsch
Charlotte Witthauer
Jörg Schleicher
Willy Semmelrogge
Wim Wenders
Also Directed by George Moorse
Experimental fiction film about young people taking on different creative tasks.
Film version of Buechner's novel.
Short industry film.
Two surveyors come under the spell of the beautiful Vampira. Vampira then celebrates occult magic rites with her new companions in her castle with the Alder Queen Belladonna, a sorceress, a hunchback, and a werewolf.
In a musical pop horror slapstick crime grotesque a broker wants to sell a group of hippies a haunted castle.
Based on H.P. Lovecraft's The Shadow Out of Time, this is the story of a professor who suffers a seizure which results in total amnesia. As he recuperates he is so different his family deserts him. He gathers knowledge of things outside his specialty for five years, then has another seizure. When he reawakens he is himself again, but now he has no memory of the five years between the attacks. He begins having bizarre dreams, and tries to find out what he was doing during the five years he can't remember. What he discovers, combined with the growing reality of his dreams, convinces him that something much darker than a mere personality shift was going on.
The Grammy award-winning pianist Daniel Barenboim, long known for his Mozart interpretations, turns his attention to Mozart's last 8 piano concertos. The music of Mozart has quite literally been an essential driving force of Daniel Barenboim’s entire life. It remains central to his performing career both as a pianist and as a conductor. These illuminating performances of Mozart’s last eight great piano concertos admirably demonstrate Barenboim’s dictum that even when a true musician has already performed a familiar work hundreds of times, he or she ‘never accepts that the next note will be played the same way as it was played before.