Voice From The Guardian wrote:
Joachim Lang’s bleak film shows a preening Goebbels and a careworn Hitler as they battle to convince the German public, and themselves, they will win the war.

In an appropriate spirit of cynicism and bleakness, German director Joachim Lang has made a film about the private life of Nazi propagandist Joseph Goebbels, the Hexenmeister or chief sorcerer of lies, and his always strained relationship with Hitler. Robert Stadlober plays the preening and self-pitying Goebbels and Fritz Karl is a careworn Hitler. Franziska Weisz plays Goebbels’s wife Magda, who at first resented his infidelities with showbusiness starlets but for the sake of the Fatherland submitted to the public image of a good Nazi wife and mother of six adorable children – whom Joseph and Magda finally murdered in the bunker before killing themselves.

In its subversive, austerely satirical way, the film feels almost like a B-side to Oliver Hirschbiegel’s Downfall from 2004, and Lang has perhaps even inhaled, just a little, the numberless internet parody memes that Downfall inspired, with English subtitles reinterpreting Hitler’s impotent rage. Lang’s film shows us the fears and misgivings that quite senior Nazis had until late in the war, and is perhaps also in the spirit of The Zone of Interest; that is, the Martin Amis novel, whose knowing, ironised dialogue and drama was mostly excised by Jonathan Glazer for his film version.

Goebbels and the Führer is a project which has apparently arisen from two of Lang’s previous films. The first, on which he is credited as a writer, was a documentary-drama about the hideous antisemitic propaganda film Jud Süss. The second, which he directed, was about the German screen actor Heinrich George, who acted in the preposterous and delusional propaganda film Kolberg, released in 1945, about German forces’ heroic defence against Napoleonic soldiers (Goebbels, incredibly, assigned legions of soldiers as extras to the latter). Both films are mentioned here, and Lang’s script sharply reminds us that Jud Süss was embarrassingly praised by the young Michelangelo Antonioni at the time.

Lang’s new drama is a movie showing Goebbels’s work as a propagandist was never done. In addition, behind the theatrical display of ecstatic loyalty, the German public, and many of the high command, were in fact just as nervous about war before Munich as the British and French. The same people were very glad to hear of appeasement, very glad to hear of the Molotov-Ribbentrop pact and aghast to hear of the Soviet invasion and the unwinnable two-front war that Hitler had embraced.

It was Goebbels’s job to soothe their fears, to create a subhuman identity for Germany’s enemies with repeated lies and provide a comforting illusion of imminent victory in which he, Hitler and everyone came to believe. The film shrewdly mixes real archive footage with dramatic dialogue scenes, in which Lang has added genuine language from historical documents. Lang also cleverly shows us what looked like a slip of the tongue in a Goebbels speech, in which he stumbled over a single crucial word, promising Germany the “… exter – exclusion … ” of Jews. The film suggests that this was a deliberate feint on Goebbels’s part, preparing Germany to accept, subconsciously, the idea that extermination must follow the milder idea of exclusion.

Perhaps there can be nothing totally new to say on film about Hitler and nazism, but Lang is interesting on the hidden disbelief and fear that existed among the leaders. Yet the film cannot quite bring itself to show us that grotesque inversion of Goebbels’s Aryan-family sentimentality: the murder of his children.

Fuhrer.und.Verfuhrer.AKA.Goebbels.and.the.Fuhrer.2024.1080p.BluRay.x264.mkv

General
Container:  	Matroska
Runtime: 	2 h 3 min
Size: 	7.71 GiB
Video
Codec: 	x264
Resolution: 	1920x804 
Aspect ratio:  	2.39:1
Frame rate: 	25.000 fps
Bit rate: 	8 235 kb/s
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Audio
#1:  	German 5.1ch AC-3 @ 640 kb/s

https://nitro.download/view/454C0C0FD96302B/Fuhrer.und.Verfuhrer.AKA.Goebbels.and.the.Fuhrer.2024.1080p.BluRay.x264.mkv

Language(s):German
Subtitles:English Norwegian Swedish Finnish Danish

The post Joachim Lang – Führer und Verführer AKA Goebbels and the Führer (2024) first appeared on Cinema of the World.

Nazi propaganda minister Joseph Goebbels is in charge of building public support for the Holocaust and for the war that Hitler is about to start.

Goebbels.And.The.Fuhrer.2024.720p.AMZN.WEB-DL.DDP5.1.H.264-HailHitler.mkv

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Container:	Matroska
Runtime:	2h 3mn
Size:	3.24 GiB
Video
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Resolution:	1280x544
Aspect ratio:	2.35:1
Frame rate:	25.000 fps
Bit rate:	3 110 kb/s
Audio
German 5.1ch E-AC-3 @ 640 kb/s

https://nitro.download/view/F22D01492EF7B0C/Goebbels.And.The.Fuhrer.2024.720p.AMZN.WEB-DL.DDP5.1.H.264-HailHitler.mkv

Language(s):German
Subtitles:English

The post Joachim Lang – Führer und Verführer AKA Goebbels and the Führer (2024) first appeared on Cinema of the World.

Irene, the new receptionist of a small mountain resort gradually understands that she replaces a receptionist who mysteriously vanished, as the employees of the hotel appear increasingly uncanny.

Hotel.2004.576p.BluRay.DD5.1.x264-WLF.mkv

General
Container:  	Matroska
Runtime: 	1 h 17 min
Size: 	2.39 GiB
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Codec: 	x264
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Aspect ratio:  	1.85:1
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#2:  	English 2.0ch AAC LC @ 149 kb/s (Audio commentary by director Jessica Hausner)

https://nitro.download/view/AE9F63769B07063/Hotel.2004.576p.BluRay.DD5.1.x264-WLF.mkv

https://rapidgator.net/file/5b2a07d03a6e59779be0537c9ffb437f/Hotel.2004.576p.BluRay.DD5.1.x264-WLF.mkv

Language(s):German
Subtitles:English (SRT)

The post Jessica Hausner – Hotel (2004) first appeared on Cinema of the World.

Quote:
When Irene gets a job as a hotel maid she soon finds out that the previous girl disappeared in mysterious circumstances.

1.14GB | 1h 13m | 1016×572 | mkv

https://nitro.download/view/4E0A65BA21DD281/Jessica_Hausner_-_(2004)_Hotel.mkv
https://nitro.download/view/9B171D40D2F5F71/Jessica_Hausner_-_(2004)_Hotel.srt
or
https://tezfiles.com/file/6f4a125c4a505/Jessica_Hausner_-_%282004%29_Hotel.mp4
https://tezfiles.com/file/2396fac6c3245/Jessica_Hausner_-_%282004%29_Hotel.srt

Language(s):German
Subtitles:English

The post Jessica Hausner – Hotel (2004) first appeared on Cinema of the World.

Quote:
Winner of the Student Critics Jury Award at this year’s Edinburgh Film Festival, German director Dietrich Brüggemann’s Stations of the Cross (Kreuzweg, 2014) takes on as its burden the wry dissection of hardline Catholicism in fourteen supremely crafted long takes. Dividing each of his film’s chapters according to the traditionally depicted stages of Christ’s condemnation to death, his Crucifixion and his subsequent burial in anticipation of the Resurrection, Brüggemann offers up a darkly comic, contemporary reworking of Catholic doctrine that never shirks away from illuminating both the ridiculous and the sublime (although the former outnumbers the latter).

At the tender age of just fourteen, the pious Maria (a noteworthy debut from young newcomer Lea van Acken) is already thinking of the life hereafter. Bullied at school due to an unwavering devotion to her faith, she finds it difficult to maintain relationships with classmates – particularly those of the opposite gender – due to an overriding if premature fear of carnal temptation. Maria’s home life is a key factor in all of this; her family are dyed-in-the-wool lambs of the Society of St. Pius XII flock with an unshakeable belief in the traditionalist interpretation and teachings of Catholicism. As such, every single daily decision that Maria makes is to be examined and scrutinised in the eyes of Almighty God – and he’s clearly not one to let even the smallest trespasses things slide. But how far will our heroine go in His name?

Reminiscent – in subject matter and its affinity for disciplined framing, at least – to the middle chapter of Ulrich Seidl’s Paradise trilogy, Brüggemann’s Stations of the Cross broaches comparable themes of sacrifice, stoicism and staunch purity, yet fixes its gaze on God’s youngest recruits as opposed to Seidl’s seasoned campaigner. In an extended and immaculately shot opening sequence (just over ten minutes in length), Florian Stetter’s impassioned Father talks his pupils through ‘The Way’. An expulsion of, and constant vigil against modern society’s numerous temptations (including the “satanic rhythms” of gospel, jazz, rock and pop music) is crucial we’re told, the scene ending with a clear sign of things to come – Maria’s rejection of a seemingly harmless biscuit. It’s in prayer and the selfless helping of others that God’s warriors find sustenance – not food.

There are points at which Brüggemann mischievous humour teeters on the edge of the outright farcical (Franziska Weisz, as the tyrannical mother, does perhaps stray into Margaret White territory on occasion). However, any such threats are almost always waylaid by a well-timed cut or a moment of finely-executed symbolism (all clocks featured stop at 3pm). Like her beloved Saviour, Maria’s one misguided wish is that the sins of another be admonished by a personal act of sacrifice – in this case, that her mute four-year-old brother, Johann, will finally speak. And whilst it’s not exactly difficult to chart Stations of the Cross’ trajectory after the first few expositionary chapters, a fitting finale highlights just how fine a balancing act between the ludicrous and the laconic Brüggemann has achieved.

2.12GB | 1h 50m | 848×352 | mkv

https://nitro.download/view/C29EBE49D51E39F/Stations.of.the.Cross.2014.480p.BluRay.x264-HANDJOB.mkv

Language:German,French,Latin
Subtitles:English

The post Dietrich Brüggemann – Kreuzweg AKA Stations of the Cross (2014) first appeared on Cinema of the World.