Quote:
In Love Is the Beginning of All Terror the paradoxical politics of emotion are parodied when two liberated, though jealous, women vie for the same man and perform for his gaze. The film addresses the oppressive structures that shape interpersonal relations as well as collective histories commented on in a voice-over.

1.49GB | 1h 51mn | 729×456 | mkv

https://nitro.download/view/BBC5917AE9E040E/Helke_Sander_-_(1984)_Love_Is_the_Beginning_of_All_Terror.mkv

Language:German
Subtitles:English

The post Helke Sander – Der Beginn aller Schrecken ist Liebe AKA The Trouble with Love (1984) first appeared on Cinema of the World.

Quote:
Helke Sander interviews multiple German women who were raped in Berlin by Soviet soldiers in May 1945. Most women never spoke of their experience to anyone, due largely to the shame attached to rape in German culture at that time. She documents the pregnancies, abortions, illegitimate children that resulted, as well as the break down in family relationships, the stigmatization these women experienced, and mental and physical duress these women underwent at the time of the rapes and as treaties were passed between the German and Soviets that never mentioned reparations for the rapes. She also interviews Soviet and German soldiers who admitted to raping women during the war. Sander uses archival footage, re-enactment, personal testimony, and voice over commentary to describe the extent and result of wartime rapes. She also makes clear that her work is politically motivated to bring wartime rape to the attention of international committees, arguing that war rapes continue today. Her film convinced the UN to list wartime rape as a war crime.

2.63GB | 3h 12mn | 737×568 | mkv

https://nitro.download/view/3D0D86AAFEA2A41/Helke_Sander_-_(1992)_Liberators_Take_Liberties,_part_1.mkv
https://nitro.download/view/00454A42BAB4BBC/Helke_Sander_-_(1992)_Liberators_Take_Liberties,_part_2.mkv

Language:German
Subtitles:English

The post Helke Sander – BeFreier und BeFreite AKA Liberators Take Liberties (1992) first appeared on Cinema of the World.

“What were the beginnings of the new women’s movement like?”, “What was life like in a commune?”, “What were discussions like?” The Film reconstructs in 1980 events that took place between 1967 and 1970.
I was also always interested in what would have happened if certain people had acted differently, or not at all, at given points in time; that is to say, what influence do individuals, “the subjective factor”, actually have on historical events? Do people’s individualities encourage or inhibit each other? How do their activities affect the general public? In 1980 this was a very unpopular question.
The film features a character called Anni, a woman living with her child in a commune, and through her transmits a sense of how a movement emerges, how it supplies answers to the many new questions Anni faces, and given her the impression of a new departure before eventually disintegrating into dogma.

1.46GB | 2:18:19 | 640×480 | avi

https://nitro.download/view/96213ED72FE4430/Helke.Sander-Der.subjektive.Faktor-1980.avi
https://nitro.download/view/434E18DD33C8E2F/Helke.Sander-Der.subjektive.Faktor-1980-english.srt

Language:German
Subtitles:English (srt)

The post Helke Sander – Der Subjektive Faktor (1981) first appeared on Cinema of the World.

Quote:
What constitutes a deadly sin today? Seven of the world’s best-known women directors produce their own version of celluloid sin in this omnibus film. Helke Sander (THE GERMANS AND THEIR MEN) reverses GLUTTONY with her vision of Eve forcing her apples into the hands of a reluctant Adam. Bette Gordon (VARIETY, EMPTY SUITCASES) finds GREED during a fight in the ladies’ room of a luxury hotel over a lottery ticket. Strangers reply to director Maxi Cohen’s ad in a newspaper to share their litanies in ANGER. Award-winning director, Chantal Akerman, battles to overcome her SLOTH in order to complete her film, while Valie Export (INVISIBLE ADVERSARIES) strips bare notions of the skin trade in LUST. ENVY turns into murder in Laurence Gavron’s take on vice, and Ulrike Ottinger, whose work includes JOHANNA D’ARC OF MONGOLIA, illustrates PRIDE with a fantastical collage of allegory and images. SEVEN WOMEN – SEVEN SINS is the perfect introduction for those new to the world of women’s filmmaking and an interesting study in styles for those already familiar with the work of these seven innovative directors.

1.21GB | 1:47:51 | 608×464 | avi

http://nitroflare.com/view/E4B9055F6B784B1/Seven_Woman_Seven_Sins_%281986%29.part1.rar
http://nitroflare.com/view/CA8F2CC63141492/Seven_Woman_Seven_Sins_%281986%29.part2.rar

Language:French, English, German
Subtitles:English (for French & German parts)

The post Various – Seven Women, Seven Sins (1986) first appeared on Cinema of the World.

road movie in which a racist skinhead is stuck in a car with a  black guy
by german feminist film maker Helke Sander

“Schwarz, weiß, doof!” – Mit diesem Spruch sagt die vorlaute Göre Jenny, was sie von ihren beiden ungewollten Mitreisenden hält. Einer davon ist der Skinhead “Dazlak”. Jenny las ihn vom Strassengraben auf, nachdem er sein Auto gegen einen Baum gesetzt hatte. zum “Dank” kotzt die Glatze den Rolls Royce ihres Chefs voll und demoliert die Scheinwerfer. Ein übler Zeitgenosse, jedenfalls auf den ersten Blick und für Leute, die sich selbst für “etwas Besseres” halten.
Unterwegs verstaut Jenny noch den farbigen Anhalter Kola auf dem Rücksitz, der sich in seiner Haut nicht gerade wohl fühlt neben dem vermeintlichen “Ausländerhasser”.
Genügend Sprengstoff also für eine turbulente Reise, die 24 Stunden später für Überraschungen sorgt und so manches Missverständnis korrigiert…

“Dazlak” ist einmalig. Dieser Film ist für seine Zeit etwas Außergewöhnliches. Noch nie habe ich einen Streifen gesehen, der mit dem Thema Skinhead so offen und leicht umgeht wie “Dazlak”. Vorurteile werden hergenommen, um den Zuschauer sehr direkt den Spiegel vorzuhalten. Dialoge wie Jenny: “Du sprichst ziemlich gut deutsch.” Kola: “Das ist normal in Wiesbaden.” sind immer wieder zu finden. Der Kleinbürger kriegt hier sein Fett weg, der Punk auch, sogar die Skinheads selbst. Denn “Dazlak” wird keineswegs smart dargestellt. Oberflächlich ist er. Brutal, engstirnig und einfach dumpf, wie viele Skinheads – egal welcher Couleur – es nun mal leider viel zu oft sind. Er hat seine Probleme und das merkt man. Doch es schimmert immer wieder durch, daß in ihm etwas schlummert, was entdeckt werden will. Und das scheint Jenny immer mehr zu schaffen im Laufe des Films.

https://nitro.download/view/F5E6E1DAE84047E/Dazlak.avi

Language(s):german
Subtitles:None

The post Helke Sander – Dazlak – Skinhead (1997) first appeared on Cinema of the World.