On 10 September, 1964, Germany’s one-millionth ‘guest worker’ was welcomed. Spanning a period of no less than forty-five years, this film by sisters Yasemin Samdereli (director) and Nesrin Samdereli (screenplay) tells the story of guest worker number one-million-and-one – a man named Hüseyin Yilmaz and his family. ‘Who or what am I – German or Turk?’ asks six-year-old Cenk Yilmaz when neither his Turkish nor his German schoolmates pick him for their respective football teams.Read More »
In this vivid historical drama set in 1980s East Germany, two dockworkers and best friends who dream of escaping the repressive regime are forced to choose their loyalties when the state police promise them safe passage out of the country — if they inform on their co-workers and union leader. Read More »
(from arte.tv)
Quote:
Gilliam war der kreativste Kopf der unvergleichlichen Komikertruppe Monty Python, bevor er als Regisseur Meisterwerke wie “Brazil” und “12 Monkeys” schuf – aber auch ebenso große Flops. Mit seinem Projekt “The Man Who Killed Don Quixote” scheiterte er spektakulär. Dokumentiert wurde der katastrophale Dreh und dessen Abbruch in dem inzwischen legendären Film “Lost in La Mancha”.Read More »
from allmovie:
A serial killer dispassionately discusses the nuts and bolts of his grisly avocation, as well as the youthful traumas which helped to mold him into a psychopath, in this disturbing independent drama from Germany, based on a true story. Young Jurgen Bartsch (Sebastian Urzendowsky) was raised in a family where his father (Walter Gontermann) barely acknowledged his existence and his mother (Ulrike Bliefert) displayed an inappropriate degree of affection toward him. When he reached puberty, Bartsch (played as a teenager by Tobias Schenke) was a young man confused and bitter about his growing sexual maturity, and possessing a deep hatred of those around him. Read More »
Encouraged by Fassbinder, with whom he became friendly after the then-enfant terrible of the German cinema visited him in Lugano, Sirk also did some teaching during the late 1970s at the film school in Munich, where he made three short films with his students. Read More »
Background/Synopsis wrote:
This is the story of a young black man who is verbally harassed by an older woman on a streetcar while the other passengers remain silent. But the schwarzfahrer shall eventually have his revenge.Read More »
The Berlin-set tale of an aimless twentysomething is a delightfully unforced comedy with a sure grasp of character and setting. THE HOLLYWOOD REPORTER
OH BOY is a charmingly self-ironic portrait of a young man and the city he lives in. Shot in vivid black and white, the film alternates between melancholy and humour, and shows the protagonist’s search for his place in a world where everything yet nothing seems possible. INDIWIRE
Low-Budget ‘Oh Boy’ Beats Epic ‘Cloud Atlas’ at German Film Academy Awards
THE HOLLYWOOD REPORTER
Read More »
Storyline:
Prologue: The murderer “Boss” Huller – after having spent ten years in prison – breaks his silence to tell the warden his story. “Boss”, a former trapeze artist, and his wife own a cheap side-show that displays ”erotic sensations”. But he longs for his former glamorous life in the circus. When he meets the orphan Berta-Marie, he falls under her spell and leaves his wife and young son behind. He makes Berta-Marie his partner in a new trapeze number. One day, the famous trapeze artist Artinelli takes note of them and engages them for his trapeze show in Berlin. Their salto mortale becomes an immediate sensation. Calculatedly and cold, Artinelli seduces Berta-Marie and destroys “Boss'” happiness. Written by Christian TaubeRead More »
Quote:
The second feature of German director Valeska Grisebach is one of the pleasant surprises of the Berlin Competition here – a quietly unassuming tale of marital infidelity told in a brisk 90 minutes that is unexpectedly packed with a raw emotional power. It derives that power as much from the non-professional actors’ performances as from Grisebach’s austere approach to the material. Sehnsucht (Longing) is one of those rare films for which the overused axiom “less is more” is totally justified. With her latest feature, Grisebach could give the Dardenne brothers a run for their money.Read More »