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The Last Austrians

In a valley in the Ukrainian Carpathian forest lies the small and forgotten town of Königsfeld. In 1775, the Habsburg Queen, Maria Theresa, sent a hundred foresters and their families here from the Austrian west of the kingdom. All that remains today of the now over two century-old timber industry are factory ruins, potholes in the valley road and an increasingly seldom heard German dialect. Only a few factories survived a flood that cut the village off from the rest of the world, and left it economically isolated. An atmosphere of farewell hangs heavy in the air.

The Last Austrians

10.0 2020
There must be some kind of way out of here

The catastrophe is tirelessly repeated in Hollywood cinema. The genre of the disaster movie hints at the collective psyche of the respective historical epochs. The perspective of a postmodern longing for moments of spectacular destruction, which briefly interrupts the dull monotony in late capitalist consumerism, shows how contradictory postmodern pop culture is. The disaster movie is symptomatic for the longing to overturn the status quo as well as the opposite desire to find it instantly restored.

There must be some kind of way out of here

NR 2020
Rêveries d'un escaladeur solitaire

"Rêveries d'un escaladeur solitaire" is a tribute to "Goupi Mains Rouges", the film Jacques Becker shot in 1943 during the Occupation. The main character of "Rêveries d'un escaladeur solitaire" which takes over the role of Tonkin from Becker's film, played by Robert Le Vigan, is perched on top of a tree. Out of the picture and shouting his hatred of society, he contemplates and insults the members of the Goupi family, sitting at the foot of the tree, who implore him to come down from his observation post.

Rêveries d'un escaladeur solitaire

NR 2020
Floyd "Money" Mayweather

Floyd Mayweather is the man with the perfect boxing record. His career has spanned more than two decades. His nickname is Floyd 'Money' Mayweather for a reason. His bouts make millions upon millions of dollars in PPV revenue. From a simple start in life in Grand Rapids, Michigan, to headlining two of the biggest PPV events of all time. Floyd has proven time and time again that he is money. Whether it's taking on one of the best boxers in the world, Manny Pacquiao or fighting the king of the Octagon, Conor McGregor, Floyd 'Money' Mayweather puts on a show no matter the opponent.

Floyd "Money" Mayweather

NR 2020
Entrance and Exit of Mascha B.

Entrance and Exit of Mascha B. follows a young woman through a digital transformation process. In the premises of a big architectural visualization company, delicate operations give rise to a promotional image: Mascha B. gets 3D-scanned, processed and retouched digitally. A virtual office room is furnished and inhabited by Mascha B. and digital colleagues. The film ends with a mise-en-scène: while the final rendering builds up on the computer screen, the aria „Barcarole“ from the 1881 fantastic opera „The Tales of Hoffmann“ plays. In this opera the hero, Hoffmann himself, hopelessly falls in love with the almost perfect creation of physicist Spalanzani, the mechanical puppet Olympia.

Entrance and Exit of Mascha B.

NR 2020
A Clear Felling

Martin and Eric grew up in a small village in Mecklenburg-Vorpommern. They have been friends since they were little boys and met when they were fishing, and from then on went to the lake together every Sunday. But their friendship is also marked by rivalry, because on one of their trips together they also met Frenni, who both fell in love with. The three of them roamed the woods and fields as children and remained friends when they grew up and Frenni got together with Eric. The couple is inseparable and very much in love, and this great love and the friendship of the threesome is only repeatedly tested by the drunken attacks by Eric’s unpredictable, aggressive twin brother Basti.

A Clear Felling

4.5 2020
There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse

"Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability." - NYFF

There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse

6.5 2020