German

Description
The two happy fitters Eddy and Tommy are doing overtime to ensure the great travel-exhibition of the department store they work in is ready for display. Outside, they see a poor newspaper seller, who looks longingly at the beautiful things in the display window. So they simply decide to smuggle the unfortunate inside and compete to win her favor by giving her gifts from the shelves of the department store. In their frenzy of happiness, they don’t notice that the girl is taking the fun little game for the truth. When she realizes that she has to give back the alleged gifts, she runs away.
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Five Western girls are kidnapped by Chinese pirates and sold to a brothel. While they are being trained to become prostitutes, a couple of local citizens take mercy on them and plots their escape by teaching them kung-fu. The five scantily-clad girls, using their newfound martial arts skills then fight their way to freedom.Read More »

Quote:
Thomas hitchhikes from Hamburg to Munich where he meets his ex-girlfriend, Peggy. As Thomas doesn’t have a bed for the night Peggy takes him home, not knowing that she and her four room mates have all made a strange pact….Read More »

Quote:
Munich in the late Sixties must have been the coolest place on earth. At least when you look at some of the movies that were made around that time. “Detektive” is Rudolf Thome’s feature debut, one year before he shot “Rote Sonne” (Red Sun) Link , and naturally it was a movie about girls and guns (and two cool dudes, proto slackers). The story is almost forgettable, it’s all about the style. And, of course, Uschi Obermaier, the star of “Rote Sonne”, whom Thome had discovered for “Detektive”. Read More »

“Frauen sind keine Engel” was made on a moderate budget and has generally found not as much attention as that which has been rightfully accorded to his ‘Viennese trilogy’ made at about the same time. Please don’t expect the outward splendour of some other Forst films, even though script, acting and direction leave nothing to be desired. However, like many of Forst’s more important films this one not only provides great entertainment, but is also a thorough examination of the relation of fiction/art and reality.Read More »

From timeout.com:
Few film-makers wear their hearts as openly on their sleeves as Margarethe von Trotta, and her fascination with women (their relationships with each other and their definition – often redefinition – of themselves) is as apparent in this, her first solo feature, as it was in the later The German Sisters or Friends and Husbands. Christa Klages (Engel) is a young mother who turns terrorist and bank robber to prevent the closure of a crêche which she helps to run and her daughter attends. On the run with her friend and sometime lover, Christa is pursued by the police, and more mysteriously by a young woman (Thalbach) who was her hostage in the bank raid. What von Trotta has to say about her women is compelling, and she remains one of the few film-makers to portray terrorists convincingly. But the enigma of the hostage runs through the film as elusively as a character in a dream – vitally important at any given moment, but irritatingly meaningless when taken as a whole – and undermines the conviction of this feminist thriller which is otherwise so gloriously rooted in West Germany’s present.Read More »

Olga and Ruth become friends. Olga is independent, separated from her husband, living with an immigrant pianist… Read More »

Sisters Maria and Anna live together. Maria is a most proficient executive secretary, encouraging Anna to finish her studies and start a career…Read More »

“Thomas Brasch’s Domino opens with glimpses of the Kurfürstendamm shrouded in snow, scenes of Christmas bustle. Lisa, a successful actress at the Schiller Theater, drops off her daughter at the Bahnhof Zoo and faces the presentiment of holidays to be spent alone. In the week to come, her life will come unraveled, her taken-for-granted security called into question. An undercurrent of the inexplicable and the unexpected will grip the artiste and ultimately sweep her into oblivion. Domino focuses on a woman living in abeyance…. Everywhere she turns the past seems to be on her trail: she confronts visions of her deceased mother (also an actress) while thinking of her own daughter. She learns that the director Lehrter, who seeks to engage her to star in his comeback production of Goethe’s Stella, may very well be her father [and learns also] of his internment in a concentration camp. Encounters on the street irritate and befuddle her. Passersby speak of mass unemployment, worry about pending war, and wander about sobbing, disoriented and confused….Read More »