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Our Nazi

In Our Nazi, we are plunged into a situation we barely, and only slowly, understand: the filming of Thomas Harlan’s experimental feature Wundkanal (1984), in which true-life ex-SS officer Alfred Filbert, now very old, is ‘put on trial’ for the camera, without him suspecting what is to come or why he is really there. Kramer’s confronting film is an essay about the sticky complicity of everyone present at this event, each bringing their own history, their own political ideology, their own desires to take revenge, to seek redemption or compassion, or just to put their heads down and ‘get the job done’ professionally, or (in the case of Filbert) to be a star, a part of the magnificent, magical, seductive world of cinema, even if it kills him.

Our Nazi

8.7 1984
The Death of the White Stallion

This somewhat superficial historical drama is about the 1525 Peasants' War in Germany when the lower classes rebelled against oppressive conditions imposed by the clergy and nobility and then committed many acts (including atrocities) that did not morally set them far apart from the people they were fighting. It was a time of upheaval: Martin Luther (1483-1556) had broken away from the Catholic Church, calling for reform, and Anabaptists in Germany, like Thomas Munzer fought on the side of the peasants (opposed by Luther). This complex age and its political and religious turmoil are summed up in a story about an attack on a small monastery whose monks used a forged document to confiscate some land from the peasants. When their wrong-doing is revealed by the monk who forged the document in the first place, the peasants attack.

The Death of the White Stallion

6.3 1985
The Glass Sky

Julien works in an office and lives with his invalid mother and his girlfriend in a pre-war Paris apartment. He feels like the two women take advantage of him and at night, he dreams of sex and violence. Meanwhile, a murderer is loose in Paris, killing women. One day in the metro, Julien believes he sees a murder victim from his dreams; the enigmatic beauty leads him into an old shopping arcade peopled by strange figures, where he meets prostitute Bichette. The independent, confident young woman starts an affair with the clerk. But then Julien witnesses a real murder in the glass-roofed arcade…

The Glass Sky

10.0 1987
Abschiedsvorstellung

A classical who-dunnit-detective-story in an unusual setting: In the retirement-home for aging stage-artists "Ewige Rampe", an overly engaged doctor discovers what seems to be a murder by poison. The victim is the only inhabitant of the home who was not on stage, but a reporter of a gossip magazine. The two investigating police inspectors soon find out that the deceased lady blackmailed most of the inhabitants with little secrets she found out in her time as a reporter - nasty, but harmless things like a little shoplifting, alcoholism, a corrected date of birth, a success one never had... but are these little old secrets reason enough to kill someone? Or is there someone with a more important dark spot in the past? And

Abschiedsvorstellung

NR 1986
Portrait: Werner Herzog

An autobiographical short film by Werner Herzog made in 1986. Herzog tells stories about his life and career. The film contains excerpts and commentary on several Herzog films, including Signs of Life, Heart of Glass, Fata Morgana, Aguirre, the Wrath of God, The Great Ecstasy of Woodcarver Steiner, Fitzcarraldo, and the Les Blank documentary Burden of Dreams. Notable is footage of a conversation between Herzog and his mentor Lotte Eisner, a photographer. In another section, he talks with mountaineer Reinhold Messner, in which they discuss a potential film project in the Himalayas to star Klaus Kinski.

Portrait: Werner Herzog

7.1 1986
Sansibar oder Der letzte Grund

Shortly before the outbreak of World War II, the paths of three people on the run cross by chance in the small Baltic Sea port of Rerig: Gregor, a member of the Communist Party of Germany (KPD); Judith, a Jewish woman; and a pastor who wants to save an Ernst Barlach sculpture classified as degenerate art. All those involved share a common fate and the dream of a fisherman's boy from Zanzibar, which is less a real goal than a utopia of a better future. Adaptation of Alfred Andersch's novel.

Sansibar oder Der letzte Grund

7.5 1987
Desperado City

Skoda is the son of a wealthy, overbearing banker and rather than put up with his father to keep a privileged lifestyle, he has chosen to ditch the relationship and drive a taxi for a living. The film follows Skoda on his nightly rides through the city, and though different characters come and go, Skoda meets a kindred spirit in the form of a teenage woman who finds her own home life equally difficult to shoulder. The two young people are gradually attracted to each other, and they end up one night in Skoda's room together. At that moment, the older woman that Skoda had been involved with opens the door and discovers his infidelity. Skoda is living in her house and driving the taxi she gave him -- her commitment was abundantly clear from the beginning. Pushed over the edge, the older woman commits suicide -- and Skoda is blamed for her death by her ex-husband. He swears to avenge her, and the hunt for Skoda begins.

Desperado City

3.7 1982
A Love in Germany

In May of 1983, a man turns 49 and, with his 17-year old son, journeys to the village in Baden that he left 40 years before. He wants to discover what happened then, the truth about an affair his mother had with a young Polish prisoner of war, how the authorities came to learn of it, the lovers' arrest, and the aftermath. While his son takes Polaroid photographs, he retraces the steps of his childhood and interviews those who should remember. The story is disclosed in flashbacks that focus on the lovers (Paulina and Stanislaus), on a jealous and conniving neighbor, and on Mayer, the local SS commander who wants to find a way out of inevitable consequences.

A Love in Germany

5.5 1983
Kieselsteine

Vienna in the eighties. An accidental meeting in a restaurant. She, Hannah, is Jewish and has a live-in lover, a young and successful architect. He, Friedrich, is a German and lives permanently in Vienna. Two worlds collide with another, begin to become entangled in each other. Friedrich too, has his problems. He is a "German", which fascinates and repels Hannah at the same time. She tries to get over her confusion by being ironic and flirtatious. Simultaneously, what she has tried to suppress breaks through in flashbacks...

Kieselsteine

8.0 1983