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Este año comen un día no y el otro tampoco

A documentary about the economic plan of the last dictatorship that investigates the role of the IMF and international banking in the policies implemented by José Alfredo Martínez de Hoz, Minister of Economy under the Military Junta, and the multi-million-dollar debt and devastating impact it had on local industry. Filmed during the first months of Raúl Alfonsín's administration, the film exposes the involvement of the business community in the persecution of workers and how illegal repression was a necessary instrument for the implementation of a neoliberal economic model that would generate significant increases in unemployment and poverty.

Este año comen un día no y el otro tampoco

NR 1985
Der rote Strumpf

Mari is nine, bright, curious and the daughter of a contented, happy family. Mrs. Panacek is seventy, a little confused, but still alert and sometimes even cheeky. She lives in a home to which her son-in-law has sent her in order to have a free hand in running the family fish business. Mari notices Mrs. Panacek because she is wearing two different stockings, including a red one. "Red keeps you warm," says Mrs. Panacek. When Mrs. Panacek runs away from the home, Mari takes her open-minded parents at their word and simply brings the old woman home with her. Didn't her parents always say that you have to be there for others too? Well, they didn't quite mean it that way, but after initial fears and insecurities, Mari's parents realize that they have to show commitment. The film tells the story of an unusual friendship without slipping into social utopia.

Der rote Strumpf

NR 1981
The Flamethrowers

Matthias Müller’s films are always about both the eternal and the volatile qualities of cinema. They exaggerate the unreality and clinical perfection of the Hollywood studio films of the 1950s, quoting its sets and colours (Home Stories, 1990; Pensão Globo, 1997) or even reconstructing them in minute detail (Alpsee, 1994). But, at the same time, these attributes, known in film jargon as the production values, are exposed to decay – a decay which on closer inspection proves to include wilful acts of creation. As his own lab technician, Müller is responsible not only for subsequent wear and tear, but also for the initial developing of his own film material.

The Flamethrowers

NR 1989
In einem Atem

The 24-year-old Andreas works as a mechanic at a tunnel building site in the Bulgarian Rhodopes. One day, he gets the startling news that his girlfriend Sabine, who is supposedly waiting for him in their far-off hometown Berlin, wants to marry another man. Seething with anger, Andreas leaves the building site and hurries to the capital in order to prevent his beloved’s wedding. On the first encounter with his rival, an athletic water polo player, Andreas comes off second best. However, neither his zest for action nor his firm intention can be shaken by this defeat. With passionate energy and some outlandish ideas he takes up the fight for Sabine’s heart.

In einem Atem

7.0 1988