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Fleur Lafontaine

Berlin, 1948: Paralyzed and robbed of her memory, Fleur regains consciousness after a serious fall. The doctor treating her recognizes that her problem is of a psychological nature and encourages her to face up to her past. The daughter of a brothel owner is reluctant to look back: on a hapless childhood, her relationships with bon vivant Dr. Goldner and the politically committed locksmith Philipp (Hilmar Thate) as well as the difficult period of fascism... This exciting journey into the German past is based on Dinah Nelken's novel "Das angstvolle Heldenleben einer gewissen Fleur Lafontaine".

Fleur Lafontaine

10.0 1978
Mass, or Monument for a Capitalist Society

Mass was made during Sjöström’s years at the film department of the Royal College of Art, in cooperation with the London Filmmaker’s Co-op. Random or staged shots of people and settings in urban London are arranged and abstracted, double-exposed and solarized. The result is a dense texture filled with layers and associative dimensions. Mass is a film attempting to convey, by strictly filmic means, the cooped-up feeling of the individual in the grey mass of the city. The absurd concrete city landscape is visualized through the unspoilt and naked eye of the camera in a concentrated mosaic of images and sound.

Mass, or Monument for a Capitalist Society

NR 1976
Swift, 1971

The Popular Revolutionary Army (ERP) was a military unit of an Argentine political party, looking up to Mao's cultural revolution as its model. Its way of fighting involved kidnappings and assassinations of government officials as well as representatives of foreign firms. The crusade of the military junta against its terrorist practices later became a pretext for state terror against civilians who had nothing to do with ERP. Gleyzer's so-called "secret film" records the kidnapping of a manager of the meat processing factory and cooling plant Swift. The partisans request an improvement in the working conditions in the factory in exchange for his release.

Swift, 1971

5.8 1971
Crazy Desires of a Murderer

A group of hip friends gather at a Gothic castle owned by a wheelchair- bound older relative of one of the girls. One couple in the group, unbeknownst to the others, is smuggling heroin in some Chinese artifacts the protagonist has brought back from the Orient to give to her elderly relative. Meanwhile the deranged uncle of the protagonist, who supposedly killed the protagonist's mother (his own sister) and cut out her eyes, is wandering the catacombs spying on everyone. When one of the guests is murdered and her eyes subsequently disappear, suspicion naturally falls on the mad uncle. But is he being set up?

Crazy Desires of a Murderer

4.7 1977
Drei Töchter - armer Vater

Master craftsman Richard Gorbacher celebrates his 65th birthday and announces an unusual decision on this day: he wants to adopt Eva, Marion and Renate, three young women from his company. As they are struggling with so many difficulties in their lives, he wants to be their father from now on and support them in all situations. However, the young women react differently to Richard's offer than expected. But Gorbacher perseveres and fights for "his" daughters and their true happiness.

Drei Töchter - armer Vater

10.0 1977
La vie facile

In this French-language film, Albin is a mercenary soldier. Sure, he's paid to kill, but he only agrees to jobs where he's killing those who need to be killed. Anyway, he trusts his buddies, and they trust him: in this case with a big haul of money they found in a jungle shoot-out. When he returns to France one of the first things he does, quite by chance, is to go see the act of Le Grande Magic Circus. The circus keeps coming into his life for the rest of the movie, as he tries to live a "regular" life.

La vie facile

9.0 1973
Retour d'un repère

The procedure of separating and extracting certain aspects of a scene by adjusting the focus of a series of frames in succession according to various organizational patterns is developed in Retour d'un repère. While the filmic operations are structured in relation to a limited space (a branch over a 19c duck pond), the filmic process rests on a visual transformation of a pantoun, a verse form borrowed from literary rhetorics, which characteristically transforms itself gradually and continuously in a precise manner. - Lightcone

Retour d'un repère

NR 1979