Peter Chatel
The lives of three generations of peasant farmers in the Emilia-Romagna region of northern Italy are the focus of this unexciting, flat-footed saga by Florestano Vancini. When the grandfather (Marne Maitland) first decides to leave his job of canal-building and move to northern Italy, he takes up work as a peasant on the land of a local priest, while his oldest son Venancio (Massimo Ghini) starts driving a carriage. More of a visionary than a chauffeur, Venancio first gets involved in organizing the peasants into a kind of farmer's union, and when that movement goes under, he devotes himself to educating the farmers instead. Along the way, his mother dies, he marries Mariena (Anna Teresa Rossini), and they have children. Much to Venancio's sorrow, his own sons do not want to stay in farming, and as they grow older, only one remains at home to till the soil. In the meantime, the specter of fascism is growing stronger by the day and the clouds of war being to darken the horizon.
Two life stories. That of Malou, a French woman, married to a German Jew, a refugee stranded in South America: a picture of the pre-war generation reflected in the unusual destiny of an individual woman. And that of Hannah, an alert, independent, modern woman, seeking after freedom and her own identity, and trying in present-day Berlin to save her shaky marriage.
Film extras take possession of a bogus film production company and acting as ideal world of film to persuade one associates mother-in-law of marriage.
A small carnival is in dire financial straits. Their show is attracting fewer and fewer paying customers, as their "attractions" are ageing, out of shape and beset by internal feuds and bickering. One day a beautiful young woman shows up and suggests a way of attracting customers: put on a strip show, with her as the main attraction. Her act attracts customers in droves, but it turns out that the girl has her own agenda, and it isn't to help out the carnival.
A thriller in which the characters are Latin-American exiles living in Paris. It is also a comedy about artists who play at revolution rather than actually participate in one
An old lady named Jane, believes she is Tarzan's widow. She wears a leopard skin bathing suit under her black coat when she visits the zoo to talk to the animals, and keeps African mementos in her home. She also has pictures of famous screen incarnations of Tarzan, including Johnny Weissmuller, Lex Barker, etc. up on the walls of her flat, and longs to 'return' to Africa and visit 'Tarzan's tomb'.
Beautiful, detached, laconic, consumptive Lily Brest is a streetwalker with few clients. She loves her idle boyfriend Raoul who gambles away what little she earns. The town's power broker, called the rich Jew, discovers she is a good listener, so she's soon busy. Raoul imagines grotesque sex scenes between Lily and the Jew; he leaves her for a man. Her parents, a bitter Fascist who is a cabaret singer in drag and her wheelchair-bound mother, offer no refuge. Even though all have a philosophical bent, the other whores reject Lily because she tolerates everyone, including men. She tires of her lonely life and looks for a way out. Even that act serves the local corrupt powers.
After her husband kills his boss and himself, Mother Kusters becomes drawn into the activities of the German Communist party and then a group of anarchists.
Fox, a former circus performer, wins the lottery of DM 500,000 and can now have the life and things that he has always wanted. While he wants to climb up the social ladder, it isn't without turmoil, and being torn between his old working class roots, and the shiny new facade of middle class consciousness.
This ethereal, three-hour biopic is the middle film in Hans-Jürgen Syberberg’s “German Trilogy” on the mythological foundations of the Third Reich. By fusing theater, music, and cinema, Syberberg conjures up Karl May (1842-1912), the immensely popular German author, who set many of his adventure novels in an idealized version of the American Wild West. His tales of the cowboy and the Ubermensch alike were beloved by many, including (Our) Hitler, who supposedly ordered his generals to read May works after defeats in the Russian campaign.
A in West-Berlin stationed African-American GI retires from the US Army to live with his (white) girlfriend, who has a baby with another Black man. After a row with her family she deserts him as well. Despite him finding a job and a new place to live, he keeps running into racism, that also manifests itself in sexual intimidation. (from: http://www.lotharlambert.com/1-berlin-harlem.html)
Cybernetics engineer Fred Stiller uncovers a massive corporate conspiracy involving a virtual reality computer project.
A German serial killer preys on boys and young men during the so-called years of crisis between the wars. Based on the true story of Fritz Haarmann, aka the Butcher of Hanover and the Vampire of Hanover.
Giallo thriller about a child killer roaming the streets of Venice. The family of the latest victim begin their own investigation. Soon finding they are in way over their heads, the killer now begins to target those who have discovered too much.
Satire on 19th-century class relations and thinly veiled commentary on the failure of the 1968 political revolution.
After having been forced to leave the Soviet Union 1929 Trotsky has ended up in Mexico 1940. He is still busy with the politics. Stalin has sent out an assassin, Frank Jacson. Jacson befriends a young communist and gets an invitation to Trotsky's house.
