Helke Sander – Dazlak – Skinhead (1997)

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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… Continue reading

Hans-Jürgen Syberberg – Ludwig – Requiem für einen jungfräulichen König AKA Ludwig – Requiem for a Virgin King (1972)

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Synopsis:
The story of the legendary King Ludwig II of Bavaria (1845-1886), his opera interest and friendship with theatre personalities such as Richard Wagner and Joseph Kainz, and at the same time a reflection of the German 1800s. Continue reading

Hans-Jürgen Syberberg – Parsifal (1982)

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Synopsis:
Richard Wagner’s last opera has remained controversial since its first performance for its unique, and, for some, unsavory blending of religious and erotic themes and imagery. Based on one of the medieval epic romances of King Arthur and the search for the holy grail (the chalice touched by the lips of Christ at the last supper), it recounts over three long acts how a “wild child” unwittingly invades the sacred precincts of the grail, fulfilling a prophecy that only such a one can save the grail’s protectors from a curse fallen upon them. Interpreters of the work have found everything from mystical revelation to proto-fascist propaganda in it. Continue reading

Hans-Jürgen Syberberg – Hitler, ein Film aus Deutschland AKA Hitler: A Film from Germany (1977)

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Director Hans-Jurgen Syberberg examines the rise and fall of the Third Reich in this brooding seven-hour masterpiece, which incorporates puppetry, rear-screen projection, and a Wagnerian score into a singular epic vision. Syberberg, who grew up under Nazi tyranny, ruminates on good and evil and the rest of humanity’s complicity in the horrors of the holocaust. Continue reading

Veit Helmer – Tuvalu (1999)

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Silent movies require a unique visual storytelling grammar, a rhythm of clear, economical medium shots, punctuated by close-ups of pertinent objects and human faces reacting. Veit Helmer’s debut feature Tuvalu isn’t strictly a silent movie—it features sound effects and the odd exclamation—but the film is virtually dialogue-free, and heavily influenced by the grammar of the silents and the fanciful retro-futurist decay of Terry Gilliam and Jean-Pierre Jeunet. But Helmer has neither the clarity nor the rococo flourish of his predecessors, and his over-reliance on color filters and crammed, busy takes inhibits Tuvalu’s ability to charm and enchant. The film stars Denis Lavant (the craggy but acrobatic center of the contemporary French cinema classics Les Amants Du Pont-Neuf and Beau Travail) as the manager of a swimming pool in a crumbling, depressed metropolis. Continue reading

Sergey Loznitsa – Austerlitz (2016)

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Quote:
There are places in Europe that have remained as painful memories of the past – factories where humans were turned into ash. These places are now memorial sites that are open to the public and receive thousands of tourists every year. The film’s title refers to the eponymous novel written by W.G. Sebald, dedicated to the memory of Holocaust. This film is an observation of the visitors to a memorial site that has been founded on the territory of a former concentration camp. Why do they go there? What are they looking for? Continue reading

Joe May – Asphalt (1929)

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Synopsis wrote:
One of the last great German Expressionist films of the silent era, Joe May’s Asphalt is a love story set in the traffic-strewn Berlin of the late 1920s. Starring the delectable Betty Amann in her most famous leading role, Asphalt is a luxuriously produced Ufa classic where tragic liaisons and fatal encounters are shaped alongside the constant roar of traffic.

thespinningimage.co.uk wrote:
In Berlin, a policeman called Holk is summoned to a jeweller’s shop, where a beautiful young woman has tried to steal a diamond. En route to the police station, the woman takes Holk back to her apartment on the pretext of collecting some papers and ends up seducing him. Soon he finds himself caught between his duty and the woman he is falling in love with. Continue reading