As war-ravaged South Sudan claims independence from North Sudan and its brutal President, Omar al-Bashir, a tiny, homemade prop plane wings in from France. It is piloted by eagle-eyed documentarian Hubert Sauper, who is mining for stories in a land trapped in the past but careening toward an apocalyptic future.
Fei works illegally as a hustler in order to support his family, yet when he realizes they are willing to accept his money but not his way of life, there is a major breakdown in their relations. Through his relationship to the headstrong Long, Fei seems able to find a new lease on life, but then he encounters Xiaolai, the love of his youth, who confronts him with the guilt of his repressed past.
A young unemployed man finds work at a nuclear power plant and begins an illicit affair with the fiancée of one of his senior workmates.
Lou Andreas-Salomé, the woman who enraptured 19th century Europe’s greatest minds, recounts her life to Ernst Pfeiffer in this German film directed by Cordula Kablitz-Post. A published novelist, poet and essayist, Salomé’s desire to live a life free from convention scandalized society but spurred genius and passion in others, including Friedrich Nietzsche, Paul Rée and her lover, the poet Rainer Maria Rilke. Under the tutelage of Sigmund Freud, she became the first female psychoanalyst.
After the body of an escort girl is found in a mountain lake, the case quickly turns personal for the lead investigator.
A series of snapshots from the life of a fictional actress named Shirley serves to weave together thirteen paintings by Edward Hopper (e.g. "Office at Night", "Western Motel", "Usherette", "A Woman in the Sun") into a fascinating synthesis of painting and film, personal and political history. Each station in Shirley’s professional and private life from the 1930s to 1960s is precisely dated: It is always August 28/29 of the year in question, as the locations vary from Paris to New York to Cape Cod.
A movie based on the book by Christine Nöstlinger “Maikäfer, flieg! Mein Vater, das Kriegsende, Cohn und ich”
A boy returns home from the institution where he grew up, but finds he is not welcome there. He fights to win the love of his family but ends up murdering them.
Cuba is well known as a so-called time capsule. The place where the New World was discovered has become both a romantic vision and a warning. With ongoing global cultural and financial upheavals, large parts of the world could face a similar kind of existence.
Anica lives in New Belgrade, a miserable district of tower blocks and concrete. She is mistress to Milutin, a wealthly local criminal who owns a solarium and runs a protection racket. Anica is determined not to grow old in this dump where neither love nor life seems to offer her a decent future. One grey winter’s day Anica has an idea to steal money from Milutin’s safe, get on a plane and leave the country forever.
The film is set in the near future, in a world of perfect capitalism. Society is sustained by a class of top achievers; meanwhile, so-called minimum recipients live under sedation in Fortresses of Sleep. The great majority of top achievers view themselves as happy. An outsourced agency has been established for the rest: Life Guidance is charged with turning these individuals into optimal people as well. Alexander has internalized the system but one wrong word to his child triggers Life Guidance. He starts to rebel and encounters the horror of the system in all its brightness and affability.
A security guard working at an art museum in Vienna crosses paths with a Canadian woman in town to visit her ailing cousin.
Dagmar works at a gas station struggling to pay her debts. Lippo is fired by his chef swearing revenge. Karl and his weird friend Rizzo find a bag filled with money which lead them to rash actions. Three car crashes. Three days. Three stories.
This film does not deal with Chernobyl, but rather with the world of Chernobyl, about which we know very little. Eyewitness reports have survived: scientists, teachers, journalists, couples, children... They tell of their old daily lives, then of the catastrophe. Their voices form a long, terrible but necessary supplication which traverses borders and stimulates us to question our status quo.
A story about Hannah (Anna Åström), a young woman who is very shy on the outside, but whose inner world is deep, exciting and vibrant. One day, Hannah notices a house that looks as if it is cut out from a hip home decorating magazine. Intrigued, she decides to break in and try to find out who owns this emotionless beautiful home equipped with high-end technology. While at first Hannah enjoys the luxury, she starts to notice on each visit that Max (Stipe Erceg), the owner of the house, is excessively obsessed with his physical possessions. He has spent a lot of time to make sure that everything external meets the society’s standards that he has forgotten himself. The things that he himself likes, the activities that make him smile, and the people who make him happy. Having realised that, Hannah starts leaving hints for Max, so as to shake him out of the the everyday emptiness and make him focus on what is important.
Hanna Leitner, wants to escape the bourgeois corset and her husband Anton, who sexually harasses her. She goes into therapy with Otto Gross and follows him to Monte Verità, where she discovers the fascination of photography.
These six video segments (10 minutes each) were originally developed for broadcast on Channel 4 as the second installment in the larger, never completed, series comissioned for Peter Greenaway and Tom Philips' A TV Dante (1989). But it was never aired. Ruiz's treatment of the six Cantos can be taken together as a bridge between his previous visions of hell in Mémoire des apparences AKA Life is a Dream (1986) and La Chouette aveugle (1987) and themore recent series of essay videos that he has made for Chilean television under the title Cofralandes (2002).
Inside a museum, nowadays. A diorama represents two young soldiers in the trenches. All of a sudden, we are thrown into the diorama: the immobile soldiers come to life, there is terror on their faces – the camera dances around them – explosions, chaos, fog: everything flies about in the air. With every gunshot, they shudder and curl up
Tradition and modernity, contrasting ways of life: the master of archival footage has assembled an impressive collection. His serene narration takes us inside the private lives of migrant families in different eras, from the beginnings of film to the present day. This new film from one of the great avant-garde directors is also a powerful tribute to a neglected genre.
Elodie and Elias have been living by themselves ever since most of the human race has disappeared from the face of the earth. However, with the unexpected arrival of Gabriel, a boy a bit older than themselves, their harmonic relationship is about to come to an end.
