Once I Loved a Girl in Vienna

Once I Loved a Girl in Vienna 1931

1

A musical about love that spans the period before and after the Great War in the Austro-Hungarian empire.

1931

The Warsaw Citadel

The Warsaw Citadel 1930

1

In the 19th century, Polish patriots rise up in Warsaw against domination by the Czar of Russia.

1930

Schoeller's Boarding House

Schoeller's Boarding House 1930

6.00

Adaptation of a popular comedy: When the country uncle he has been bilking comes to town to visit, a young student takes him to a boarding house full of exaggerated eccentric characters.

1930

Liebelei

Liebelei 1927

4.00

Film by Jacob and Luise Fleck.

1927

Crucified Girl

Crucified Girl 1929

7.00

The young student Mary spends the beginning of her holiday with boat trips, visits to her wealthy groom, and gardening. In fast-paced, rhythmic cuts, Louise and Jakob Fleck draw their audience into a carefree, urban romantic comedy. With a single scene, however, it turns into a melodrama about sexual violence, shame and perpetrator-victim reversal.

1929

A Girl from the Reeperbahn

A Girl from the Reeperbahn 1930

1

Lighthouse keeper Uwe Bull lives with his wife Hanne and the silent assistant Jens in a secluded, small world. When the only survivor from a shipwreck, young Margot from Reeperbahn, is washed up on the island, Uwe's feelings arouses. But dark clouds appear in the sky.

1930

Frauenarzt Dr. Schäfer

Frauenarzt Dr. Schäfer 1928

1

The respected gynecologist Prof. Hausen is averse to performing abortions. In contrast, his up-and-coming colleague Dr. Schäfer sees abortion as a means of helping women in need and openly advocates an amendment of the law. The professor’s convictions are shaken when misfortune befalls his own family. Louise Fleck presents her drama about the untimeliness of restrictive abortion legislation against the backdrop of modern urban reality. Seriousness, however, is preserved, because topics such as unwanted pregnancy, sexual violence, and the consequences of improperly performed abortions are not only addressed through minor characters, but also placed at the center of the cinematic narrative. (Anna Dobringer)

1928