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In this Austrian exploitation film Udo Kier plays a young thug who falls in love with a prostitute. After she is murdered he wants revenge and start looking for the murderer.
This is the second film by Eddy Saller and was quite a shock to the austrian mainstream used to movies which reminisced about the better days under the monarchy.Read More »
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Frangipani and Friedrich wrestle with the vagaries of married life, while also trying to preserve their own individual personalities. Frangipani’s primary concern, however, is with Friedrich’s job. She’s jealous of the attention he pays to it.Read More »
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“Das Kino und der Tod/Cinema and Death”(1988), is one of his ‘Cinema Anthology’ ,which was made by extraordinary Bitomsky’s voice and movement of his hands that turn over photos of murder in films.It’s ‘a film noir as a film essay which analyzes film noir’. When he analyzes classic films like Hitchkock’s “Torn Curtain”,Lang’s “Hangmen also die”, Siegel’s “The Killers”,Aldrich’s “Kiss me deadly”,etc, each viewer tries to remake the images that always becomes uncertain in the memory,with the movement of Bitomsky’s hands and voice as a detective showing photos of evidence of murders. There is an astonishing moment of new discovery of the image which we remember as a movement of the film.Read More »
Synopsis:
‘Germany, 1933. Fearing that the rise of Nazism will inevitably lead to war, a number of officers band together to form an anti-Hitler group. They recruit a journalist, Golder, to take a plan of the German offensive to the Allies. But by the time he is able to rejoin them it is too late…’
– French Film SiteRead More »
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Of all the new crop of films by new German directors, this first film by Peter Fleischmann has attracted the most attention, and is based upon a prizewinning play by 25-year-old Martin Sperr. Hunting Scenes from Bavaria is a contemporary political play, which, in its broadest viewpoint, is an examination of the social order and its morals. It is set in Lower Bavaria, not because that particular locale is the source of the actions taking place in the film, but because the overall pattern of behavior in German village life was the best way to illustrate a certain sociological process: the hunting or persecution of human beings who, because of certain peculiarities, are living outside of the social order.Read More »
Ekkehard Knörer @ jumpcut.de wrote:
Dominik Graf makes movies for TV that are bigger than TV, but in his case this might be not a problem at all. It seems that his films work best as movies made for TV, TV as movies. This is because of the hackneyed stories he and his writers certainly twist and turn – without the intention, however, of turning them into art. Or rather, it is an art that turns its back to TV. This movement of turning its back remains important, though, as a gesture, a gesture that works best at the place it turns away from: TV. Dominik Graf’s art is an art of transcending TV by means of using it, of reproducing it in a radically transformed way. It remains recognizable in the stories, the motives – not the emotions, though.Read More »
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Time traveler Frank is picked up by Luise and Theo while on their way to Berlin. Frank wants to find author Laura Luna and take her to the future with him. Frank finds Laura and they become a couple, but Luise shows up and makes it a menage a trois.Read More »
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Time traveler Frank is picked up by Luise and Theo while on their way to Berlin. Frank wants to find author Laura Luna and take her to the future with him. Frank finds Laura and they become a couple, but Luise shows up and makes it a menage a trois.Read More »
The dress is too lavish and the toilet cubicle too small for the bride to fit in. The ballroom is jam-packed and the mood is alarmingly good. Something is about to burst: the groom’s delusion of grandeur? The pregnant belly of deaf Betti? Her step-father’s patience? Or the wine-filled bladder of his ex-wife?Read More »