German

A Film by Rosa von Praunheim Nurses on the night shift roll dice to see which AIDS patient will die next. The owner of a gay bathhouse gets Kaposi’s Sarcoma but tries to keep his mind on profits. An epidemic victim is harassed by a reporter on his death bed – he sticks her with a contaminated syringe. The government opens a quarantine called Hell Gay Land. Gay terrorists kidnap the Minister of Health. A black comedy filled with everybody’s worst fears, A Virus Knows No Morals is Rosa von Praunheim’s most controversial film to date: a savagely funny burlesque on the AIDS crisis. Irreverent yet deadly serious, the filmmaker covers just about every aspect of AIDS and its effects, as well as the rumors surrounding it. Since the 1960’s von Praunheim has produced a provocative body of underground films, making him one of the New German Cinema’s most original artists. “Brave and Vicious – Armed Camp!” – New York Times
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The misadventures of Anita G., who was born in 1937 of Jewish parents and who left the GDR for the West, are told in a style close to documentary that owes as much to Godard as to Brecht . They are the misadventures of a figure of a repressed past struggling to live in western society

Number 14 on the Association of German Cinémathèques’s best German films of all times.

Winner of the Venice Film Festival ‘s Special Jury Prize.
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UNTEN MITTE KINN (the title can be literally translated as ‘Bottom Middle Chin’) is about a group of drama school students shortly before their graduation. They struggle with their teacher Borchardt – played by actor and stage director Fritz Schediwy (1943–2011) – and so they hire actress Corinna Trampe (Ursula Werner) to help them finish their stage production of Maxim Gorki’s Nachtasyl (The Lower Depths / На дне, literally: ‘At the bottom’).
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Hanni (Eva Mattes) is only 13, but mature at an early age. Her Franz (Harry Baer) is 19 and an unskilled worker. His relationship with the minor does not go undetected.

Based on Franz Xaver Kroetz’s play, which is in turn based on a true story, this film by Rainer Werner Fassbinder tells the story of a very young girl who, after persuading a local boy to become her lover, induces the lad to kill her father, whose incestuous sexual attentions to her have grown unbearable. The site they choose for this deed, which gives its name to the film, is a wild-game crossing.Read More »

Synopsis wrote:
Coup de Grâce (German: Der Fangschuß, French: Le Coup de grâce) is a 1976 West German film directed by Volker Schlöndorff. It was adapted from the novel by the same name by the French author Marguerite Yourcenar. The title comes from the French expression, meaning “finishing blow”.

Synopsis: A countess’ unrequited love for an army officer leads to disaster. Latvia, 1919: the end of the Russian Civil War. An aristocratic young woman (brilliantly played by Margarethe von Trotta) becomes involved with a sexually repressed Prussian soldier. When she is rejected by her love, the young woman is sent into a downward spiral of psychosexual depression, promiscuity, and revolutionary collaboration. A startling tale of heartbreak and violence set against the backdrop of bloody revolution, Volker Schlöndorff’s Coup de grâce is a powerful film that explores the interrelation of private passion and political commitment.
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A man, a woman, two children: a family. He is a musician. She used to be one until the children came. One day, Marie discovers that not far from where they live, her husband Thomas has set up a second life for himself, a second home with a second family. Marie falls into shock, slowly sinking into her pain by the end of the day. Finally, she is driven by her desperate need for consolation and explanations to seek Thomas at his night concert in an old castle, where there is a masked ball. From then on, she embarks on an emotional journey that will lead her to make an unexpected decision.Read More »

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After spending three years doing field installation work in West Africa, Fred returns home to his old neighbourhood, an industrial region on the outskirts of a major city. He is filled with confidence and optimism for a new start. He has brought home with him a pile of money that he made in Africa. But he never wrote to his wife Rita. He only wired her a money transfer every month. In the meantime, Rita has a new life that she now shares with a GI. Fred rents a room in the “Royal”, a sleazy hotel. There, he meets Alma, who takes care of the rooms and the guests and who is being kept by her sugar daddy – the aging hotel director. A passionate encounter with his old girlfriend Vera, who had high hopes for the two of them at some earlier time, dissipates into a brief carnal episode. For the old work buddies in the steel mill, Fred’s return is just an excuse to get drunk one night. Only Alma, the girl from the “Royal”, shows interest in Fred. For her, he personifies a bit of yearning, faraway places and the chance to get herself out of her little rat-hole. Together they set out on a journey, wandering aimlessly through Germany. . .
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Here’s the debut feature film by director Uwe Schrader, who’s still a well-kept secret of german cinema. I first read about him in the most recent issue of Cargo. His realistic “Milieu” films recall the works of Klaus Lemke, Roland Klick or the austro-canadian filmmaker John Cook. Kanakerbraut is only one hour long, and it is about the dull life of Paul (Peter Franke) and his encounters with similar characters in Berlin Kreuzberg.Read More »

Here’s the final film of Uwe Schrader’s proletarian trilogy, following White Trash AKA Kanakerbraut [Germany] and Sierra Leone [Germany] . Without a straight narrative, a couple of stories revolve around the last days of a stripclub called ‘Mau Mau’.

MAU MAU is located right in the middle of the red light district. When night falls on the city, the joint starts jumping in MAU MAU. Stripping, pimping, ripping off and grifting are the order of the day. Sometimes it’s all very agreeable and sometimes all hell breaks loose. Celebrations and snivelling go hand in hand here. In this world of the marooned, the stumbling and those who have gotten back on their feet, the film traces the lifelines of Inge and Heinz, of Rosa and Doris and of Ferdi and Ali on their search for love, happiness and life. “If I had the choice of filming in heaven or hell,” says Uwe Schrader, “then I’d choose hell”.Read More »