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At opfinde virk...

1996 /
The presentation of Jon Bang Carlsen's working method using the example of his film about Irish bachelors - "It's Now or Never". At one point in this essay about documentary staging, it says, "You move into a film just as you move into a house." Whether one feels comfortable in it, however, depends on many small, sometimes inconspicuous things. Bang Carlsen tells us about this in this film: about the search for protagonists, places, events, moods and their translation into film history. That is why it is not the story of the protagonist that we finally encounter in the cinema, nor that of the director. Rather, the film has found its very own truth. And that's the wonderful thing about filmmaking. In this respect, another comment of Bang Carlsen on the documentary method must be agreed with: "The result of this misunderstood orthodox thinking is to allow oneself to be limited by what the world happens to look like at the moment. Matthias Heeder

Engelchen

1996 /
Berlin, Ostkreuz. Ramona lives alone, is shy, shy of contact. There she meets Andrzej. In the girl the woman appears, she loves, lives, becomes pregnant. But Andrzej has a wife in Poland. And Ramona loses the baby. This leads to an act of desperation. In memoriam of Susanne Lothar. East Cross, backyard, two stairs. The trains almost run through the room, in the courtyard the "Milieu" rages. Ramona lives alone, is shy, fragile, shy of contact. There she meets Andrzej; he is turned towards, tender, protective. In the girl the woman appears: she loves, lives, becomes pregnant. But Andrzej has a wife in Poland and Ramona loses the baby. Your desperation cannot be greater. To make her dreams come true, she steals a baby. With gentle force Misselwitz describes a woman's life that suffocates between dream and reality. With the unforgettable Susanne Lothar in one of her shining roles. KF

Episches Theate...

1996 /
At Bertolt Brecht's request, a performance of "Der Hofmeister" by J. M. R. Lenz, which he directed, was filmed in 1951 at the Berliner Ensemble by a fixed camera in total view, in single frame mode and with intervals. The untouched film tins are found in the Bertolt-Brecht archive in 1992. Voigt reconstructs seven scenes of the performance from the material and mounts them with directorial notations that Brecht had written for a planned Hofmeister model. A "film sketch" (P. V.) with aura. Grit Lemke

W grocie króla...

1996 /
Visual translation of Edvard Grieg's famous Peer-Gynt-Suite, her dramaturgy as well as mood and colour changes. Annegret Judge