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Hexen

Germany in 1949: The residents of the Thuringian village Hunsdorf are still heavily influenced by archaic superstition and explain unusual events with preternatural powers. The same happens when pigs again and again disappear from different farmyards. The village residents firmly believe that witches are the reason for this mystery. Not even police detective Kühlemann who is sent to Hunsdorf is able to dissuade them from their superstition. Thus, the farmers think his investigation is aimless and they do not support him at all. With a lot of patience and well-made arguments he finally convinces little Peter that there are no witches. Next, Peter’s grandfather and teacher Marianne take Kühlemann’s side. With their support, the police detective eventually finds out the truth and is able to put a stop to the gang of crooks that had been stealing the pigs.

Hexen

7.0 1954
Besuch aus der Zone

Germany, end of the 1950s. After his business partner Kleinschmidt fled to the West, Mr. Reichert managed the company they had once founded together in East Germany alone. The company's export hit is a new type of synthetic fiber. But now the West German company, where Kleinschmidt now works, wants to cancel all orders. Kleinschmidt fears that this could be a welcome opportunity for the East German authorities to order the compulsory expropriation of his company. He wants to save the order on a trip to the West. The reunion with his old friend Kleinschmidt is overshadowed by existential fears.

Besuch aus der Zone

7.0 1958
Rendez-vous of the Docks

Rendez-vous of the Docks reconstituted the mythic docks' refusing to load arms for Indochina War in the Marseilles's port. This film captivates by his realistic force. Shot clandestinely using non-professional actors in natural locations, with the camera on his shoulder, Carpita anticipated "la Nouvelle Vague." He is considered the one of the unique French neorealist in film history, the missing link between Jean Renoir’s Toni and Jean-Luc Godard’s Breathless. At the premiere of Rendez-vous of the Docks, cops interrupted the screening and brought the film back to the police station. This film is the longest censored film of the history of French cinema. For 35 years, Paul Carpita thought his film had been destroyed by censorship.

Rendez-vous of the Docks

7.7 1955