Micha, a young boy being beaten by his abusive father, joins other bullies at school to terrorize people for amusement, including his own brother.

Kinderspiele_1992.avi

General
Container:	AVI
Runtime:	1h 46mn
Size:	1.51 GiB
Video
Codec:	DivX
Resolution:	640x480
Aspect ratio:	4:3
Frame rate:	25.000 fps
Bit rate:	1 700 Kbps
Audio
#1:	2.0ch AC-3 @ 192 Kbps
#2:	2.0ch MP3 @ 128 Kbps

https://nitro.download/view/E306E358F9E1277/Kinderspiele_1992.avi

Language(s):German
Subtitles:None

The post Wolfgang Becker – Kinderspiele AKA Child’s Play (1992) first appeared on Cinema of the World.

A young woman with epilepsy suffers a breakdown during her first year at university, then decides to seek help from a priest in battling the troubles associated with her strict upbringing.

Requiem.2006.1080p.AMZN.WEB-DL.DDP5.1.H.264-TEMHO.mkv

General
Container:  	Matroska
Runtime: 	1 h 31 min
Size: 	6.51 GiB
Video
Codec: 	h264
Resolution: 	1920x816 
Aspect ratio:  	2.35:1
Frame rate: 	24.000 fps
Bit rate: 	9 497 kb/s
BPP: 	0.253
Audio
#1:  	German 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/0F7F964A3E0AAD9/Requiem.2006.1080p.AMZN.WEB-DL.DDP5.1.H.264-TEMHO.mkv

Language(s):German
Subtitles:English

The post Hans-Christian Schmid – Requiem (2006) first appeared on Cinema of the World.

An ill man’s dying wish reunites four old friends. (IMDb)
*
Friends brought together by tragic circumstances discover how sad their own lives have become in this bittersweet comedy-drama from German filmmaker Michael Klier. Harry (Henry Hübchen), Justus (Burghart Klaussner) and Bernhard (Armin Rohde) were close when they were young but haven’t seen each other in many years. However, they meet for the first time in decades when they learn another member of their circle, Manni (Peter Lohmeyer), has fallen ill and has only a short time to live. Manni has done well for himself and has a fine house with a pool as well as a vintage Ferrari, but as his life draws to a close he wants to spend time with his pals and asks them to help him with his one nagging regret. Manni used to date a beautiful girl named Rosi (Sibylle Canonica), but he treated her badly and she left him; all these years later, Manni asks his pals to find her so he can apologize and beg her forgiveness. While they’re wary of this assignment at first, Harry, Justus and Bernhard agree to track down Rosi, but they find she isn’t as eager to forgive and forget as Manni might hope. Meanwhile, Manni’s imminent death causes the other three friends to look back on their own lives, and they aren’t happy with what they see — Justus has devoted his life to a business that has brought him little pleasure, Bernhard is trapped in a loveless marriage and a dead-end career, and Harry gets word that his wife his leaving him via a text message . . . while his mistress does the same only a few hours later. Alter und Schonheit (aka Age and Beauty) was an official selection at the 2009 Berlin International Film Festival. (~Fandango)

1.37GB | 1h 33m | 704×384 | avi

https://nitro.download/view/E11FA72CA88FDD3/Michael_Klier-Alter_und_Schonheit_(‘Age_and_Beauty’)_(2009).avi
https://nitro.download/view/4FFA33EA1F1A711/Michael_Klier-Alter_und_Schonheit_(‘Age_and_Beauty’)_(2009).idx
https://nitro.download/view/7EABB096BC07E78/Michael_Klier-Alter_und_Schonheit_(‘Age_and_Beauty’)_(2009).sub

Language:German,Commentary(german)
Subtitles:English,German

The post Michael Klier – Alter und Schönheit aka Age and Beauty (2009) first appeared on Cinema of the World.

Quote:
In November 1939, Georg Elser’s attempt to assassinate Adolf Hitler fails, and he is arrested. During his confinement, he recalls the events leading up to his plot and his reasons for deciding to take such drastic action.

Quote:
The German director Oliver Hirschbiegel impressed viewers the world over with his brutal and psychologically astute 2001 film “The Experiment,” but it was with 2004’s “Downfall,” a spectacularly effective picture about Hitler in his last days, that he not only made his reputation as a world-class filmmaker but also inadvertently created an Internet meme.

Yes, every time some wise guy puts a subtitled scene of Hitler reacting badly to something that has nothing to do with Hitler pops up on YouTube, it’s using “Downfall” as the source material. And yet—and this is a testimony to the power of that movie—one can to this day watch an unmodified “Downfall” and be engrossed and appalled by its whole, and by that scene. (The fact that Hitler is being played by the amazing Bruno Ganz is a bit plus here of course.)

Hirschbiegel’s career has had some dips since then. A curious 2007 rethink of “Invasion of the Body Snatchers,” titled “The Invasion,” was a fever-paced head-scratcher. His 2013 Princess Diana biopic proved a massive miscalculation. A cynic might say that after that disaster a revisitation of German history on the level of “Downfall” might be an apt way to revive a damaged career. But “13 Minutes” is too good on its own terms to support such a reading. It’s a genuine achievement on an inexhaustible subject.

The movie begins with its lead character, Georg Elser (Christian Friedel) rigging a bomb into a wall. It’s a big one, too; he’s packed at least a dozen sticks of dynamite in it. He then rigs a timing mechanism, and the camera dollies out to show a table with a placard on it reading “The Fuhrer’s Chair.”

It’s 1939, six years and change since Hitler took power. A few months ago, Britain and France declared war on Germany. The bomb is timed to go off on November 8, the anniversary of the-now-Fuhrer’s failed Beer Hall Putsch. And so it does—13 minutes after Hitler leaves the packed beer hall where he addressed a friendly crowd. Many died, many were injured, but Hitler escaped. And was infuriated.

Elser seems an unlikely assassin. True, he looks appropriately panicked when he is apprehended shortly after the explosion, but when the movie flashes back to 1932, and his life in a village by Lake Constance, he’s a cheerful accordion player and woodworker. One of the most effective aspects of the movie is its depiction of how the Nazi poison seeped into the provinces, abetted by bigots who recognized that der zeit was now on their side. One morning Elser is walking through the village square with a young boy, who parrots some anti-Semitic gossip he heard from his father. “When did you get to be a moron all of a sudden,” Elser says jokingly to the little boy. He hasn’t much time to remain cheerful.

While he describes himself as non-political to his Nazi torturers, he participates in some resistance, keeping lookout for friends painting anti-Nazi graffiti. He lives dangerously in other respects too, having an affair with a married woman, Elsa (Katharina Schüttler) at whose house he eventually boards. These scenes are interspersed between bouts of VERY enhanced interrogation at the hands of the Nazis, and there’s a behind-the-scenes intrigue too. SS honcho Heinrich Müller (Johann von Bülow) insists to police chief Arthur Nebe (Burghart Klaußner) that a full confession is necessary; as Germany goes to war, Goebbels and Hitler are both eager to bolster a conspiracy/martyrdom narrative. Once the Nazi’s dangle Elsa and her safety before Elser’s eyes, the confession, which he had been withholding despite gruesome, grisly torture (which is depicted in some detail), comes quickly. The psychological gamesmanship comes courtesy of Nebe, who’s the “good German” for the purposes of this scenario. (The film later reveals what those who know a little about the Third Reich are aware of: that Nebe was part of a subsequent assassination attempt against Hitler in July 1944. For all that, there is some substantial doubt in historical circles as to just how good of a good German he was.) The Nazis want Elser to admit to a conspiracy, but he insists, and the film shows, that he was a man alone.

He insists this was the case, and the reason he gives to his interrogators is simple: “Nobody would have joined me.” Looking at Germany from the end of World War I all the way to the beginning of the next World War, one is frequently moved to ask, “Why didn’t anybody do anything?” “13 Minutes” offers, in a more or less conventional narrative form, some tentative answers to that question, all of them uncomfortable. – Roger Ebert

1.87GB | 1h 49m | 1027×428 | mkv

https://nitroflare.com/view/18252BB9E16AA8E/Oliver_Hirschbiegel_-_(2015)_13_Minutes.mkv
or
https://nitroflare.com/view/D1AB9B6F74DEBF8/Oliver_Hirschbiegel_-_(2015)_13_Minutes.part1.rar
https://nitroflare.com/view/190F17B831C4FBC/Oliver_Hirschbiegel_-_(2015)_13_Minutes.part2.rar

Language:German
Subtitles:English

The post Oliver Hirschbiegel – Elser AKA 13 Minutes (2015) first appeared on Cinema of the World.

Hollywood Reporter:
Director Heinrich Breloer mixes drama with documentary in his marathon TV biopic of radical playwright and leftist icon Bertolt Brecht.

Interweaving glossy dramatic scenes with interview clips featuring former Brecht associates, some specially shot and others dredged from the archives, Breloer provides a wealth of material but never quite breathes life into his charismatic, contradictory subject. The blend of fictionalized and documentary elements is often deftly done, with interlaced scenes that rhyme and chime like music. But otherwise Brecht is thoroughly conventional and strangely un-Brechtian in style. Set to air on German and French TV next month, this solidly middlebrow armchair-theater marathon could potentially land on big or small screens in other markets largely thanks to Brecht’s towering cultural reputation — especially since, remarkably, this is his first-ever full biopic treatment.

The first 90-minute chapter of Brecht is dedicated to the young playwright (Tom Schilling) and his rise to fame, from precocious schoolboy poet in rural Bavaria to literary shooting star in Weimar-era Berlin. Convinced of his own genius from an early age, he is also a serial womanizer who casually ditches fiancee Paula Banholzer (Mala Emde) to marry Marianne Zoff (Friederike Becht). He then discards both to live in the bohemian Berlin loft apartment of actress Helene Weigel (Lou Strenger), who becomes his second wife and lifelong creative partner.

Brecht has children with all three women, but has little time for fatherhood as he is too busy pinballing between various lovers while tirelessly promoting himself as the new boy wonder of German theater. Fortunately for him, the critics agree and he scores major breakout success with The Threepenny Opera in 1928. But just as his domestic notoriety as a polemical left-wing dramatist is exploding, the Nazis come to power, and he wisely escapes into exile.

Jumping ahead almost 20 years, the second act of Brecht stars Burghart Klaussner (The White Ribbon, Bridge of Spies) as the older playwright and Adele Neuhauser as Weigel. As Marxist idealists committed to the world-changing promise of Soviet Communism, the couple return from U.S. exile and open their own theater company in East Berlin, the fabled Berliner Ensemble, under the wary patronage of the political authorities. There they stage significant productions of later plays, including Mother Courage, The Caucasian Chalk Circle and The Life of Galileo.

While mostly turning a blind eye to East Germany’s authoritarian regime, Brecht fully exploits his powerful position to continue his sexual adventures with young assistants and actresses. He finally pushes Weigel to breaking point when his Danish former mistress, the mentally fragile Ruth Berlau (Trine Dyrholm), turns up in Berlin with hopes of rekindling their old romance. This second section is slightly hobbled by its ungainly chronological structure, flashing back to Brecht’s American exile from the depths of his postwar Berlin period with scant narrative logic.

Breloer’s decision to concentrate on Brecht’s private life would be a perfectly valid artistic choice in the right hands, particularly given its timely feminist angle of giving credit to the women who enabled his stellar career behind the scenes. But this soapy, sexed-up approach is rendered somewhat impotent by the fact that neither of the male leads radiates any of the erotically charged, Machiavellian magnetism that the real Brecht must have possessed. The boyishly bland Schilling seems to be auditioning to play Harry Potter while Klaussner has a creaky grandfatherly stiffness, perhaps inevitable for an actor almost 20 years older than the man he is portraying.

The most entertaining and illuminating clips here are the interviews with former girlfriends and associates, who mostly appear to be still entranced by Brecht’s guru-like power long after his death, even as they challenge his moral failings and self-aggrandizing lies. If only Breloer could have shone more light on why such a deeply flawed man inspired such ferocious loyalty. These juicy morsels will leave many viewers with a nagging suspicion that Brecht would have worked much better as a full-blooded literary documentary rather than a ploddingly literal docudrama.

3.12GB | 3h 05m | 1024×576 | mkv

https://nitro.download/view/D3784E7A5D7A072/Brecht_Part_1_-_2019.mkv https://nitro.download/view/A325641D537D4D5/Brecht_Part_2_-_2019.mkv

Language:German
Subtitles:English

The post Heinrich Breloer – Brecht (2019) first appeared on Cinema of the World.

Synopsis:
A historical drama that depicts the relationship between Dietrich von Choltitz, the German military governor of occupied Paris, and Swedish consul-general Raoul Nordling.

3.30GB | 1h 23m | 1280×532 | mkv

https://nitro.download/view/9134068E1085676/Diplomatie.2014.720p.BluRay.DD5.1.x264.mkv

Language:French,German
Subtitles:English (muxed)

The post Volker Schlöndorff – Diplomatie (2014) first appeared on Cinema of the World.