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Chasing a Rainbow: The Life of Josephine Baker

The story of Josephine Baker takes us on a fascinating tour of 20th-century race relations on both sides of the Atlantic, yet it leads to no conclusion, and black girls in search of a role-model tend to look elsewhere. Part of her appeal is her startlingly unique appearance. Simply nobody has ever looked or acted like her. She fits no black stereotype. Nor does she look like any recognizable strain of Afro-American. I'd always heard she was half-white, but it seems that her paternity is unknown, and her contradictory claims on the subject don't do much to enlighten us. (We are tempted to imagine quite an exotic mix.) Her origins in sharply-segregated St. Louis, where she is said to have witnessed a lynching, do not seem to have left her embittered. Perhaps she had too much to give. There is a special innocence about that smile, and when she performs her cross-eyed gag, we are lifted into a strange pixie-world, all its own.

Chasing a Rainbow: The Life of Josephine Baker

7.0 1987
Outrages aux mœurs

Claude, 30, film producer, falls in love with 20-year-old Grendy, to whom he gave the lead role in his latest film. One day, he surprises Grendy in the arms of another man. He shoots the lover and, after burning his car, runs away at random. He takes refuge on a barge where Chantal and Carla live. He takes them hostages. But little by little, Claude feels a certain attraction for Chantal. For her part, the young woman does not remain insensitive to the charm of her attacker and, despite the situation, gets caught up in the game ...

Outrages aux mœurs

4.0 1985
Eine verfahrene Kiste

A lost box is a strange one that nobody knows. It appears in the middle of an apartment exchange involving the Ilse and Rudi Karschek family and another couple. Since no one can be assigned to this box, it is opened; the contents: the portrait of an attractive girl who dedicated it to "her" Rudi. Rudi, however, is quite sure that this must be a misunderstanding. But then his wife Ilse receives a phone call in their new apartment that is not at all misleading, which brings the situation in the Karschek family to a head. In this respect, the whole affair becomes a total "mess".

Eine verfahrene Kiste

NR 1988
Der Lude

Berlin in the early 1930s. Bello is an unemployed young man who loves the underage Frieda. In order to earn a living for both of them, Frieda goes on the streets. An inspector from the political department takes advantage of this to blackmail Bello into providing informer services. But that's not all. A jealousy murder among pimps, whose victim is a high-ranking Nazi, is blamed on the Communists, and Bello is supposed to be the key witness. He refuses. When the Nazis come to power, they reopen the case to turn the murdered man into a martyr. Bello still refuses. He now believes he is safe because Frieda is now of age. But he pays for his refusal with his life.

Der Lude

9.0 1984
Die ehrbaren Fünf

In a small Saxon town after the Second World War, the former chimney sweep Toni tries to survive on the black market and meets the pusher Ginfizz. Together they initially trade in flour before embarking on a riskier plan: they are to rescue machines from Soviet expropriation for the mill owner Hartmann by transporting them in hidden trucks. In the process, they become entangled in various adventures, from rescuing orphans to transporting pigs, while being constantly pursued by the young policewoman Gisela, who wavers between her professional duty and her attraction to Toni. After Ginfizz is caught and the others remain temporarily free, they help to get the mill up and running again to avert a food shortage.

Die ehrbaren Fünf

7.0 1989
Entrée de secours

You'll see Johnny Rotten or rather his ghost Johnny Lyndon insulting human herd with "this is religion, your religion". The last images of a film which lets you no escape, no more escape than the punkette who exhibits her genitals in a toilet hallway, no more escape than all these rockstars who belch to fill the void. On the music aspect, there is a combinatorial saturation of sounds that looks like a requiem. The images : uninterrupted movement un a daily apocalyptic space. This is about savagery, frantic intoxication, suicidal energy.

Entrée de secours

NR 1982
The World of Gilbert & George

Gilbert & George are renowned for presenting themselves as ‘living sculptures,’ fusing their art and identity with the external world. Their exploration of the bleak urban surrounds of 1980’s London, powerfully evoke the desires and tensions of its disillusioned youth alongside their own eccentricities. Poetic narration combines with vivid imagery that moves between the startlingly beautiful, the humorous, and the absurd. Church spires and city streets, youth and drunks, dancing and tea-drinking all take on an affecting symbolism when viewed from the unique perspective of Gilbert & George.

The World of Gilbert & George

1.0 1981