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A portrait of two old people whose dialogue is echoed by internal monologue. A visitor, possibly their nephew, disrupts the routine of their day.

Bienchen is a little girl who is very worried regarding the private life of her older brother.

St. Pauli, against the backdrop of the fish market: loose women, husbands who would rather play cards than spend the night with their wives, angry spouses, an uncle from Texas, a flower girl, and right in the middle of it all, freedom-loving Freddy Lehmkuhl. A true Hamburg boy! In his mother's living room, he hears that he is supposed to get married. He doesn't like this idea at all, because if there's one thing Freddy loves, it's the sea...

A TV film based on Louis Aragon’s novel Les cloches de Bâle.

The Mona Lisa loses her famous smile, and so does the rest of the world.

An interview with the acclaimed Scottish novelist.

Movie by Walter Bockmayer about Bette Davis and Greta Garbo.

Film in three parts: Raymond Depardon films L'ambuscade d'Aouzou, in Chad, where Gilles Caron, Michel Honorin, Robert Pledge and a group of rebels are attacked by Chadian auxiliary troops in 1970. The other two parts (1975-76) include an interview with Françoise Claustre, a captive of the Frolinat fighters led by Hissène Habré and Goukouni Wedey, and the attack on the Faya palm grove. Raymond Depardon's interview for this short documentary moved public opinion, and Paris relented, paying the ransom demanded by Hissène Habré, amounting to ten million francs. Françoise Claustre's story served as the basis for Raymond Depardon's film La Captive du désert, starring Sandrine Bonnaire.

An actor, passing from the box to the stage, successively interprets seven different characters.

A fictionalized report from the Côte d'Azur. Preparing for vacation (diet and artificial tanning). The vacation route (a hitchhiker has her luggage stolen by a motorist; hitchhikers steal, rape and leave in their victims' cars...). "Dolce vita" in Saint-Tropez. The art of spending a vacation with a minimum of money (prostitution, cheating at gambling, pussies kept by old ladies...). Naturists on the Ile du Levant. Vacation club romance. Drugs (a girl gets stung and falls into a coma next to her friend, already dead). The end of a vacation (a young woman, ruined by her stay on the Riviera, indulges for a day in slaughterhouse prostitution to pay for her return).

Early 1921: a man is on his way home. Gleb Chumalov, regimental commander, worker and Hero of the Order of the Red Banner, returns to his home town from the Civil War. The victory over the enemies of the Russian people gives him the conviction that a new, better time will dawn overnight. Gleb looks for his comrades from earlier years, but only finds people who are emaciated by their efforts. The cement works where he used to work has been plundered and abandoned. With great effort, Gleb and his comrades try to get the plant up and running again. The struggle seems to begin anew... It is the time after the victory of the “Great October Socialist Revolution“ and the time of building a new society.

The End of the Road (also known as Alaska: The End of the Road) is a 1976 British short documentary film directed by John Armstrong. The film is about British Petroleum's Alaska operations, including the construction of the Trans-Alaska Pipeline System. It was nominated for an Academy Award for Best Documentary Short.

A parallel of the life and work of two Volkswagen workers, one in Brazil and the other in Germany, who perform identical functions in assembling the VW Beetle.

A short film by Raphaela Schoenherr with HHK Schoenherr.

This short film by Walerian Borowczyk was made in 1979 but is so little known that when it was rediscovered in 2014 it had not been included in any of his filmographies. Of all Borowczyk's films, this is the one that most clearly shows his love of early cinema and pre-cinema, in this case Charles-Émile Reynaud's praxinoscope.

Facing retirement, elderly journalist Clarence Hubbard reflects on the pointlessness of a life wasted writing banal tabloid human interest, animal, and crime stories. Rather than go quietly to tend roses in a garden, Hubbard begins a series of violent actions not unlike those described in tabloids, and this is heightened by inter cutting tabloid headlines between scenes. Throughout, there are occasional shots of a television critic who watches this very play as it unfolds, and he writes a negative review filled with cleverly phrased but bitter invective.

The betrayal of her husband discovered, Sandra repays him with the same coin, with conferences based on alcohol, drugs and sex

Traces of stories. The images themselves. Tear off. Stain. To paint. Makes light out of them.

Pseudo-documentary which "examines the British public's most intimate sexual relations and the modern-day permissive society".

In this sequel to Die Bettwurst, Dietmar and Luzi are a somewhat unorthodox couple, who live and fight with tremendous enthusiasm. The unusual nature of their liaison is signalled by the fact that Dietmar is bisexual and is completely unable to remain faithful to Luzi. Dietmar also has his own, personal dialect of German. Luzi, on the other hand, is coziness personified. No matter, in this film they get married at the Memorial Church in Berlin. Infuriated at his playing around, Luzi briefly splits up with him, but when her dog dies of poisoning, he is there to comfort her.

The writer Charmain Colson entertains a circle of old friends. One day, when the group receive an anonymous message saying Memento Mori/Remember you must die, they all panic in fear and angst.

A portrait of Serb erotic surrealist painter Ljubomir "Ljuba" Popović.

Susanne and Christian get to know each other during a wonderful week in summer - and fall in love. This, however, leads to conflicts: up to now, Susanne has been living with Wolfgang, a biologist. This shared life was harmonious and based on mutual trust. Wolfgang is not only resolute and in full command of social situations; he has also always been the stabilizing force in the relationship. This is precisely why Susanne now feels drawn to the unsettled, unsteady and frivolous Christian, the complete opposite of the calm, well-balanced Wolfgang. And Christian, working as a shift boss on a natural gas derrick, has become more aware of his personal and social responsibilities as a result of loving Susanne.

A young would-be writer searches the street of Glasgow for his missing girlfriend.

Satire on 19th-century class relations and thinly veiled commentary on the failure of the 1968 political revolution.

German sex comedy

A portrait of a 74-year-old woman who lives in modest circumstances in a village in Brandenburg and tells her story on camera: born in 1904 in Rastenburg (East Prussia), Wolters Trude moves to Berlin at an early age with her parents and five siblings. At the age of nine, after the death of her mother, she was placed in an orphanage. In 1918, at the age of 14, she was placed with a family, working in their restaurant. She married in 1929; her husband turned out to be an alcoholic; she had eight children, six of whom survived, and whom she raised practically on her own.

After a man's death, his sister must take care of her niece, result of an extramarital relationship with a singer of color.

In soccer, No 1 is the position of the goalkeeper, a human body in continuous, unbelievable motion - diving, leaping, bouncing, sprinting, hurtling through space.

Fists of Dollars & Spinach is a 1978 film directed by Emimmo Salvi. It is the first flesh-and-blood film about the adventures of Popeye, anticipating the Disney film Popeye (1980) by Robert Altman by two years

The true story of Derek Bentley, whose conviction and execution for a murder committed by someone else provoked a public revulsion.

Inspired by Virginia Woolf, a young writer worries that marriage will hinder her literary ambitions. The film includes extracts from Virginia Woolf's novel To the Lighthouse and her essay Professions for Women, both read by feminist filmmaker and theorist Laura Mulvey.

Winter 1978-1979: In his signature style, Hernández films hearty meals, long afternoons and candlelit dalliances inside his residence on rue des Entrepôts.

A couple (Karin Thome and Eberhard Klasse), whose relationship can't hold up to the pressure of their financial and career problems, only have their child left as the remaining connecting link. But even their child becomes a pawn in their egoistic power games and possessiveness. The crisis reaches a peak first then, when the husband finds out about an affair that the wife is having and sets out to claim the same rights for himself. This takes him to New York, where he settles. The wife gets her hands on all the cash reserves and follows him there. In spite of the new location, they still remain a couple with a disturbed and insensitive miscommunication, that instinctively cling even more to each other in the new and alienating environment.

On a day in the summer of 1912, the family of retired matinee idol James Tyrone grapples with the morphine addiction of Tyrone's wife Mary, the illness of their youngest son Edmund, and the alcoholism and debauchery of the older son Jamie. As day turns into night, guilt, anger, despair, and regret threaten to destroy the family.

The Hänggis are busily preparing for the wedding of their eldest daughter Jacqueline to Victor, son of Stephan Haberthür, with whom Heini Hänggi is planning a business merger. Then in walks a total stranger - Mrs. Seeholzer - who announces she saw in a vision that Jacqueline would not marry Victor. She then establishes her vision's accuracy by correctly predicting various hilarious domestic accidents... Wonderful play for little theatres.

The robber Hotzenplotz shows no mercy and steals Grandma's music-making coffee grinder. Naturally, Kasperl and Seppel have something against this and set off in pursuit. But Hotzenplotz overpowers them. Trapped in the robbers' den, one of them is even to be sold to the mysterious magician Petrosilius Zwackelmann...

The director presents takes and scenes filmed on location in Africa for a film-that-never-was, a black Oresteia.

Since the contemporary turn of the century short subjects of Georges Melies, the first French-made film to discuss the long taboo topic of the Dreyfus Case.

The densest film of the divided-frame group is the aptly titled 1978 Networks, which includes as many as 20 exposures of the same roll of film. Here only one slit was used, but Lebrat combines within one image many narrow strips taken at diverse Paris locations, sometimes seen through colored filters. The enclosed, even claustrophobic space of the strips contrasts with Lebrat’s superimposition of them and with the movement within the strips and by the strips within the frame... (Fred Camper)

Witnesses tell of the day the police took over the Peugeot factories in Sochaux on strike for 22 days. Balance: two dead, one hundred and fifty wounded. The first film by Sochaux's Medvedkine group, this film recounts one of the most violent episodes of May 68: the murder of two Peugeot factory workers by a CRS brigade during clashes on June 11, 1968. The film was shown two years later, on June 11, 1970, in a cinema opposite the factory, on the day commemorating the death of the two workers.

Civil engineer Berger is looking for his mother and learns that she has died and was last in a home run by the notorious construction company Huberty. When the company boss Huberty becomes the victim of an assassination attempt shortly afterwards, suspicion falls on Berger, but Huberty's death is linked to the fraudulent bankruptcy of the construction company. The boss's wife is found to be the culprit. An unpleasant surprise awaits Berger, a civil engineer from Hamburg, when he returns home after years of working in Mexico: his mother has disappeared. Her tracks are lost in a "retirement home" run by the Huberty Society. Berger suspects that his mother has been the victim of a crime. He hunts a murderer and becomes the hunted himself...

A witty and eye-opening tour through Borowczyk's own collection of vintage erotica. Originally intended as part of his 'Contes immoraux', it was released first as a separate short, and is therefore marks the turning-point between Borowczyk's career as a highly-regarded animator and surrealist filmmaker, and his subsequent career in the sexploitation field.

A documentary film about Algerian women