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.

They meet in Yugoslavia. Katharina, daughter of a Yugoslavian immigrant worker, has grown up in the Federal Republic of Germany. She is a confident, energetic career woman who has managed to work her way up to become a successful television journalist. She goes to visit her parent's country, to do a story about the children of immigrant workers in their home country. Although she says she doesn´t need a "home" any more, even she feels strange in her own country. Peter is a rather "untypical" sort of man: a dreamer, a thinker. He has given up his steady job as a composer for advertising films and is divorced. He goes to Jugoslavia to find something out about the past. He travels to the places where his father was stationed during the Second World War.

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?

The film portrays the 1952 revolution and 1980 coup in Bolivia through the lives of two brothers, Juan José and Martín. Juan José, the legitimate son of Luís, is transformed, by his experiences as a youth in 1950s, to become a boss of one of the groups of paramilitaries during the 1980 coup. Martín, the illegitimate son of Luís and an indigenous peasant, becomes a trade union leader during that period.

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.

20세기 초, 파리 최고의 환락 클럽 '미노테어'에는 많은 상류층 인사들이 출입하고 있다. 청년 헥토르는 이 클럽에 드나들게 되면서 나나라는 댄서에게 반한다. 은행가 스타이너 역시 나나에게 반하여 그녀에게 커다란 저택을 사주고 소유하려한다. 우연히도 그 저택은 헥테르의 아버지 머팻 백작의 저택 근처가 있었다. 나나에게 혼을 빠앗겨 버린 헥토르의 행동에 신경이 쓰인 머팻 백작은 나나의 뒷조사를 하다가 자기 역시 나나의 포로가 되어 버린다. 나나는 백작을 꼬드겨 격투기에 손을 대게 하고, 선수가 스타이너의 흉계에 휘말려 패하고 말자 머팻 백작은 철저히 파산한다. 그 즈음 백작의 유일한 기쁨은 아들의 결혼식이었다. 백작이 아들에게 오래 전에 한 약속을 기억해낸 나나는 헥토르의 결혼이 끝나기 직전 교회에 도착한다. 그녀는 거기서 머팻가를 완전히 파멸시켜 버릴 마지막 음모를 시작한다.

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)