Ursula West

Châtelaine Marie-Agnès de Bayonnette lives in her family home with her cousin Solange. The lives of the two old ladies are governed by the traditional codes of aristocracy. When Marie-Agnès died, the heirs from Russia had to fight over the estate with a Japanese company that wanted to buy the property.

Events in an idyllic African village are shown in detail in the period just before logging trucks come in and cut down the forest around the villagers, forcing them to move into the wretched shantytowns that surround major cities throughout the undeveloped world. Despite the familiar premise, this surprisingly unsentimental film by Georgian director Otar Ioselliani has several things going for it, beginning with the cinematography and including the natural and unaffected (non-professional) performances of the villagers.

A young Russian man arrives in Berlin in search of a woman, but becomes entangled with two others one of whom falls in love with him and another who represents a classic Russian heroine like out of a novel from one of his countrymen idols.

Una periodista alemana viaja a Yugoslavia con la intención de documentar las condiciones que encuentran los hijos de los trabajadores yugoslavos en Alemania cuando vuelven a su tierra natal. Ahí conoce a un hombre que ha viajado a ese país para conocer más sobre el pasado nazi de su padre. Ambos viajan al pueblo de la madre de ella haciéndose pasar por novios. (FILMAFFINITY)

An unusual family story about two father and son generations, beginning on a German country side and ending in the students' revolt in Berlin.

Emily, a child, stays with her bourgeois grandparents during frequent periods when her mother makes films. Isabelle wraps a picture, flies to her childhood home to pick up Emily, and plans to leave for her place in France. Old wounds between Isabelle and her parents open around Isabelle's life style. It's also apparent that Isabelle's mother, Paula, is unhappy - with her husband and with her youthful hopes dashed when she became pregnant with Isabelle. Unbeknownst to Isabelle, the co-star of the film she's just made has followed her, checked into a nearby hotel, and wants to begin an affair, even though he's married. Can Isabelle sort it out? What's best for Emily?

Treinta años de la historia político-social de Bolivia. Crónica de una familia de terratenientes, que a raíz de la Revolución de 1952 comienza a disgregarse. Tres décadas más tarde el antagonismo ideológico de los hermanos Cartagena, los llevará a una brutal confrontación.

Computer operator Faber works on securing computers for big companies and banks. His private life is rather dull until he meets a strange women, Juliet and falls in love. Her friend convinces Faber to exploit his knowledge to rob a bank.

En el París de Zola, un ingenuo llega a un burdel tony: ella es Nana, sin culpa, pero aprendiendo rápidamente a usar su inocencia erótica para obtener lo que quiere. Ella es una actriz para una cineasta de soft-core y pronto es la cortesana más popular de París, haciendo de esto una casa, comprada para ella por un banquero adinerado. Ella lo tira y se lleva a su vecino, un recuento de rectitud impecable, y con el hijo impresionable del conde. El conde pronto está recogiendo palos como un perro e hipotecando sus tierras para satisfacer sus caprichos.

Doctors say that Veronika, a woman in her 20s, is schizophrenic. She is compliant, which makes her an easy target for men. She's religious, believing she is God's favorite child; she searches for Jesus. She has sent a letter to a filmmaker suggesting her life as the subject for a movie. We see her raped then take up with a series of men she believes are Jesus, each willing or insistent on sex. A young man with his own crisis of faith invites her to join a cult. We see her involuntarily committed to an asylum from time to time where medication and constraints await. Her wealthy parents are helpless. Will a medical professional ever talk to her? If one did, would it help?

A man, alone in Berlin. He sleeps and watches TV, walks through the city. A woman approaches him. Does he feel like having coffee with her? No.

An architect is assigned to modernize a squatted house in the Kreuzberg district of Berlin. But then he meets a young student who is member of a grassroots initiative trying to preserve the quarter. He falls in love with her, although this puts him into conflict with his job. Following his heart, the architect soon changes sides and supports the inhabitants in their struggle against the real estate speculators.

Wealthy woman and her Ethiopian maid form a friendship.

Cahiers du cinéma critic Serge Daney asks whether The Kingdom of Naples is "leftist fiction, kitschy melodrama, photo-roman, a decadent chronicle of a city, opera in a minor key, or simply the first realistic narrative film by Schroeter?" It is all of these and more: an epic chronicle of proletarian family life in Naples from 1943 to 1972 that brilliantly captures the wretched poverty, overwrought passions, and political, religious and economic upheavals of Sicily across two generations. Schroeter assimilates neorealist aesthetics and class sympathies with the tempestuous excesses of popular melodrama, borrowing freely from Rossellini, Pasolini, Visconti, Brecht, and Rossini. (Facets)