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They've Got Knut

Set in the early '80s, a time when a new wave of leftist political consciousness and activism had swept German youth (and was just about to disappear as quickly as it arrived), this satiric comedy follows a young couple, Ingo (Hans-Jochen Wagner) and Nadja (Valerie Koch), as they travel to Austria for a weekend of skiing near her parent's luxurious chalet. While Ingo and Nadja have an open relationship, he thinks its time that they commit to one another exclusively, and is hoping this weekend will convince her this is a good idea. However, their privacy is interrupted when several guests arrive -- friends of Nadja's brother Knut (Ingo Haeb), a noted political activist, who, unbeknownst to her, has also planned a ski weekend. As the guests await Knut's arrival, they get the unpleasant news that he's been arrested during a demonstration; several propose that they should come to his aid, while the majority decide instead to go skiing as a way to pay tribute to his commitment to the cause.

They've Got Knut

3.8 2003
Taxi

Hamburg, mid 80s, Alex is a cabby. The sound is hard, pubs are dark and loud, people constantly argue about anything and everything, people smoke all the time, and not just cigarettes. Alex wants love and freedom and sleeps with Dietrich. It's far from being love, but the sex is okay. With Marc, a little person full of dignity, she finds more than that. The rest is struggles with her passengers, the indifferent and the doomed, brutes as other nuisances. This sort of life could go on and on, Alex could drive away from her own life and in doing so lose Marc and not getting rid of Dietrich. Wouldn't there be a small monkey with the same invincible desire for freedom as hers.

Taxi

5.6 2015
Schlachtvieh

Strange things happen in the overnight express: according to a cryptic, obviously military announcement, the train's telephone link with the outside world has been cut off, access to the rear part of the train has been barred, the windows cannot be opened and the train does not stop at any station. While the train's secretary decides to get to the bottom of these ominous events, the other passengers react quietly and are annoyed by the young woman's anxiety. A young priest prevents her from pulling the emergency brake.

Schlachtvieh

7.0 1963
All for Money

Rupp (Jannings) is a former butcher, made rich in the meat packing industry as a result of the reversal of fortunes brought on by WWI. He is crude, uncouth and uneducated. His son, Fred, is the apple of his father's eye and is an auto enthusiast. The widowed Rupp falls in love with a former aristocrat, Helen, now down on her luck and pawning her last heirloom. He proposes marriage and she accepts in order to save her ailing mother who needs a monetary influx to avoid death. Her former boyfriend, Platen, warns Helen against Rupp's intentions - he and Rupp are enemies, Rupp having caused his being fired for protecting a chorus girl against Rupp's unwanted advances. Meanwhile, Graf, a shyster, arranges purchase of a near bankrupt auto manufacturing firm, Phoenix, to Rupp's great advantage with practically no monetary recognition to Graf, who swears revenge. Rupp comes upon his son begging Helen not to marry his father but to return to Platen.

All for Money

8.0 1923
Jasmin

An intimate drama based on actual cases about a woman who murdered her own child. Interviewed by a psychiatrist, she recounts how she got in a seemingly hopeless situation which led her to believe that the killing of her child and a subsequent suicide where the only solution left. As more and more fragments of her desolate life are revealed, it becomes evident that the psychiatrist is also keeping a dark secret, and that she has in fact more in common with her patient as the latter would have guessed.

Jasmin

4.0 2012
Menschen

Martin Berger’s 'Menschen' serves as a harrowing socio-cinematic autopsy of the human spirit, adrift in the wreckage of a post-war landscape. Far from the escapist fantasies that often dominated early Weimar screens, this 1921 opus delves into the penumbral existence of the disenfranchised. The narrative follows a fatalistic trajectory, where the characters—portrayed with a raw, almost primitive intensity—grapple with the crushing weight of systemic indifference and personal moral decay.

Menschen

9.0 1920