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The Sweet Number - An Experience of Consumption

The subtitle of this merry performance is "An Action Text", indicating that the artist's introduction for the vaudeville number was an inflammatory impetus. Export provides precise instructions for the use of a wrapped box of chocolate-covered candy produced by the renowned Viennese company Hofbauer. However, she has not made an advertisement for them and their presentation, but instead, she extols the packqge and confection as a work of art. Severe degradation of the surviving tape further blurs our perceptions.

The Sweet Number - An Experience of Consumption

NR 1969
Das schwache Geschlecht muss stärker werden

The weaker sex must become stronger - but how can this be achieved? The central keyword of the six filmmakers Claudia von Alemann, Susanne Beyeler, Erika Runge, Helke Sander, Ula Stöckl and Hanna Laura Klar is: emancipation. Together, they will discuss the importance of films for feminist consciousness-raising and the role of female filmmakers in this process. A statement will be followed by an exemplary feature film scene. Claudia von Alemann talks about the unequal division of housework and advocates the remuneration of this work. How can the relationship between work and family be improved for working women? What about bringing up children? What steps are necessary to overcome the unequal gender order? One thing is clear: Film work is political practice.

Das schwache Geschlecht muss stärker werden

NR 1969
Harlem Theater

HARLEM, USA: in the aftermath of Martin Luther King’s murder, German filmmaker Klaus Wildenhahn turned his 16mm camera on the New Lafayette Theatre as its players rehearsed scenes, ran public workshops and conducted exercises in uptown Manhattan. New Lafayette (or NLT) had been founded by actor-director Robert Macbeth the previous year, with the aim of producing theater for black people, by black people, to reflect the experiences and vernacular of the Harlem community. Within the Black Arts Movement, NLT would become a significant institution: it published the journal Black Theatre, and employed a host of talents – including the Black Panthers’ Minister of Culture, Ed Bullins, and the great pianist Junior Mance, both of whom appear in Wildenhahn’s film as resident collaborators.

Harlem Theater

7.0 1969
Das Stacheltier - Ein Pferd müßte man haben

Psichinski rings Mr. Semmler's doorbell and alerts him to strange noises in the attic. Together they sneak upstairs and discover a full-grown horse, which they report to the police officer. He triggers the alarm. The fire department and several workmen marvel at the event and ponder how it could have gotten there in its full size. The return transport requires structural measures and reconstruction work. After completion, Psischinski's house resembles a "jewel box". Later, the policeman asks Psischinski how he "managed" the matter and learns that he had brought a foal there 1½ years ago in order to draw the attention of the public, especially the tradesmen, at the appropriate time so that work that was difficult to carry out could finally be completed. Shaking his head, the official, who also owns a house, leaves the property with the comment: "You should have a horse!"

Das Stacheltier - Ein Pferd müßte man haben

NR 1961
The Shadows Grow Longer

Christa Andres runs a home for troubled girls. With great dedication, she tries to help girls who have gone astray return to a normal life. She takes special care of Erika, who works as a prostitute and one day runs away from the home. Christa sets out to search for the girl in the red-light district. In doing so, she is haunted by the shadows of her own past. The educator herself used to work as a prostitute. When she meets her former pimp, he tries to exploit his knowledge in a perfidious way and blackmail Christa...

The Shadows Grow Longer

6.0 1961