Alexander Kluge

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A female prostitute and thief makes her way through the city with a female GDR spy. Frankfurt, 1974. It’s Carnival time. At the same time police forcibly evict students from occupied buildings).Read More »

Synopsis:
The circus artist Leni Peickert is planning the circus of the future. She wants to show the animals authentically, and not dressed up as people. In face of the inhuman situation, the artists are to increase the degree of difficulty in their work. But her plan goes awry. Leni Peickert approaches a television company, seeing a knowledge of this special technology as a more suitable basis for her attempt to change the world.Read More »

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Willi endeavors to survive in a world where annihilistic galactic battles rage, by taking a job at the centre of power. But it’s the wrong side that he takes in this civil war…Read More »

New sci-fi experimentation quite comical about a power failure during the launch of a Soviet rocket.Read More »

Quote:
Let’s follow the lady announcer and listen to some stories: the one about Max the waiter and the black lady or the one about Nina Petrovna, or others about soldier lost at Stalingrad, about the sick woman, or the European military conventions and Helmut Schmidt’s visit to Erich Honecker.Read More »

Apocalyptic sci-fi technoid video short for TV and Tekkno-MagazinRead More »

Quote:
In this “film essay,” director Alexander Kluge handles two different stories with both fictional and documentary aspects. In one story, a foster parent cares for a traumatized young girl who is now an orphan after witnessing a car crash that killed both her parents. After the foster-parent does the right thing and takes the girl to her aunt — her court-appointed guardian — she is shocked to see that neither the wealthy aunt nor her servants are very interested in the girl. An unusual decision follows. In the other story, a director goes blind in the middle of a film project but has to be kept on because of his contract. This situation leads to some philosophizing on the nature of film and art in the modern world. ~ Eleanor Mannikka, All Movie GuideRead More »

»Der Entschluß steht fest, das KAPITAL nach dem Szenarium von Karl Marx zu verfilmen«, notierte Sergej Eisenstein am 12. Oktober 1927. Eisenstein, der mit Panzerkreuzer Potemkin (1926) die Filmsprache revolutionierte, wollte Marx’ Buch »kinofizieren«. Die Herausforderung, die von einem solchen Werk ausgeht, so glaubte Eisenstein, würde die Filmkunst von Grund auf umrücken. Ihm schwebte die Anwendung völlig neuer, von James Joyce’ Ulysses abgeleiteter Formen vor: »faits divers«, »emotionale Konvolute« und Reihen »dialektischer Bilder«.Read More »