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Ablakon

A city with its problems. A gang of abandoned children provide for themselves and pose as heroes. The police are on their backs day and night. They are enterprising, energetic, and full of fresh vitality. Despite the fact they are rejected by their parents and ignored by the world, they form among themselves a powerful example of solidarity. Ablakon is something of a different order. He is an adult delinquent and a swindler. Posing as a businessman, he has deceived a countless number of people. When he and his accomplice return to the village, his extravagant behaviour is mistaken for a sign of success. Following his example many young people leave for the city. But they will soon understand their mistake...

Ablakon

5.8 1985
Aufrecht gehen. Rudi Dutschke - Spuren

Portrait of the spokesman of the student movement and extra-parliamentary opposition Rudi Dutschke, who died on December 24, 1979 from the late effects of an assassination attempt. The film is not limited to the mere biography of the extra-parliamentary politician, but also depicts the political environment as well as the late effects of the student movement. In retrospect, it condenses into a picture of a highly politicized society that had not yet begun its retreat into the private sphere.

Aufrecht gehen. Rudi Dutschke - Spuren

7.0 1980
The 2 Lives of Mattia Pascal

Based on 'Il fu Mattia Pascal', one of Pirandello's many stories concerning the transitory nature of the intangibles "truth" and "identity". Mattia Pascal is a downtrodden average man, treated like trash by his fiancée, scorned by his associates, and cheated out of his inheritance by contemptuous relatives. The dispirited Pascal heads to Monte Carlo, accruing a fortune and also assuming the identity of a less fortunate gambler who killed himself. The "new" Pascal is treated with a dignity and respect that overwhelms him--and nearly kills him.

The 2 Lives of Mattia Pascal

5.8 1985
Valie Export: Portrait of a Filmmaker

Katja Raganelli’s sole excursion into the realm of avant-garde cinema was this focus on Austrian experimental film axiom Valie Export. This portrayal of the filmmaker is quite special as it presents Export at a very particular moment in her career, during the shooting of a fiction feature, Menschenfrauen (1980), with which she was able to break into the avant-garde mainstream, shedding the skin of her path-breaking, often performance-based early works.

Valie Export: Portrait of a Filmmaker

NR 1981
Expeditions 1 – Signs of Empire

Produced while the Black Audio Film Collective were undergraduates, Expeditions 1 – Signs of Empire is the first of a two-part 35mm slide-tape text entitled Expeditions; part two is entitled Images of Nationality. The work toured England from November 1984 to March 1985, using a Kodak dissolve unit to sequence images into narrative. The soundtrack to Signs of Empire, which consisted of tape loops of musique concrete and political speeches, was amplified to create a powerful environment of dread.

Expeditions 1 – Signs of Empire

NR 1983
Manuel

Manuel is only 11 years old, but he already works on a sugar cane plantation located in northeastern Brazil. His father and older brother are also employed here. Manuel works on a huge roller that is used to press out the sugar cane. His friends transport the squeezed sugar cane away, dry the remains on the farm or help transport the cut cane to the mill. The film shows Manuel's daily work and describes the different steps of sugar production on the plantation. Manuel hopes that his younger siblings will soon be able to help, because although Manuel contributes to the family income, it is often not enough to feed the family of nine.

Manuel

NR 1989
The Look of Others

Twenty-four people confide in the camera. What they all have in common is that they have been struck down by a disability, either through an accident or a disabling illness. Now integrated into society, they speak in turn about their lives. Through images and words, issues that affect us all emerge: hope, anxiety about the future, dependence, the attitude of others, their "gaze" and, above all, the sense of fear that the image of disability imposes on the able-bodied.

The Look of Others

10.0 1980
Caught Feelings

Caught Feelings is the succinct title of a film which deals with emancipation trends from the viewpoint of young Austrians. Manfred Kaufmann's first film reports on tensions which may arise from the contradictions between collective and individual feelings. He works with subtle and psychologically perfected indications which explain the symptoms and illustrate the reactions. But this film is also a vehement attack on bourgeois feelings and the resulting behaviours. He shows character traits which use masks to simulate emotion as well as those which are ready to remove their masks in order to let feelings take effect. (Herbert Holba)

Caught Feelings

NR 1980
Kein Mann für zwei

Jochen Hamann met Martina Schwarz during a stay at a health resort lasting several weeks. The two fell in love and continued their affair after the cure. This is, of course, much to the displeasure of Jochen's wife and Martina's husband. Renate Hamann and Michael Schwarz then form an alliance of convenience, so to speak, in order to separate the two again over time. But this is not as easy as initially thought. In the end, however, Jochen is the one who has to decide who he wants to live with in the future. Either with Renate or with Martina.

Kein Mann für zwei

3.0 1982