Irmin Schmidt

In 1968, musician Irmin Schmidt and friends founded the avant-garde band "Can", which achieved worldwide fame. Schmidt also made a name for himself as a composer for films by Wim Wenders. In this documentary, the charismatic sound tinkerer looks back on his life and career.

2015년 가을, 시리아 내전으로 인해 전례 없는 숫자의 유럽 난민이 발생하자 난민에게 독일 국경을 열겠다는 메르켈 총리의 전격적 결정은 국내외에서 찬사와 지지를 얻었지만, 한편으로 엄청난 시위와 가혹한 비판에 직면해야 했다. 놀라운 역사적 결정의 막전막후를 다룬 로빈 알렉산더의 논픽션 책을 원작으로 한 이 영화는 당시 전 유럽의 지도자들과 메르켈 사이에 벌어진 긴박한 상황을 정치스릴러의 문법을 차용해 묘사한다. (평창국제평화영화제)

The fourth in a series of feature-length documentaries about Progressive rock written and directed by Adele Schmidt and José Zegarra Holder. Krautrock, Part 1 focuses on German progressive rock, popularly known as Krautrock, from in and around the Cologne, Düsseldorf, and Hamburg regions of Germany. Artist featured include Kraftwerk, Neu, Can, Faust and others.

A documentary on the 1973 Sam Fuller film Dead Pigeon on Beethoven Street.

Heinz Gödicke (Ronals Zehrfeld) is the chief commissioner of the People's Police in the small town of Eberswalde in Brandenburg. Gödicke is called when two bestial murdered children are found in the forest. The investigator tries to get involved in the perpetrators - a rarely used method at the People's Police - and the perpetrator so on the track. The Stasi-Major Witt (Florian Panzer) is no friend of this procedure and leaves the commissioner only reluctantly free hand in the investigation. The matter does not go to the authorities fast enough and is then simply put to the files. When another murder occurs, it becomes clear that Gödicke was much closer to the enlightenment of the act than everyone thought.

Nina Hausen, head of an escort agency, is attacked by a stranger on her nocturnal walk with the dog in the forest. Only with difficulty can she escape him by touching him with her car and seriously injuring him. On the way back she finds in her car a bag of diamonds - apparently the ransom from a case in which a boy was kidnapped. Under pressure from a colleague reports Nina Although the robbery of the police, the diamonds but suppresses them. But that's where their problems really start ...

세계적으로 성공한 스타 사진 작가, 핀. 한시도 쉬는 법 없이 울리는 그의 전화는 그의 인기를 보여주는 것 같지만, 막상 그에게 있어 진정한 위안이 되는 건 헤드폰을 통해 흘러나오는 음악뿐... 그의 삶은 어딘지 공허할 뿐이다. 어느 날, 사진에서 진심이 느껴지지 않는다는 평까지 듣게 된 그는 삶에 회의를 느끼며 모든 것을 뒤로 한 채 팔레르모로 향하고, 쫓기듯 찾은 팔레르모에서 핀은 우연히 복원가, 플라비아를 만나 사랑에 빠지게 된다. 하지만 어느 순간부터 찾아온 정체를 알 수 없는 생명의 위협으로 핀에게 커다란 위기가 닥치게 되는데….

Based on the novel Hohaj by Elisabeth Rynell, it depicts the devastation felt by Elizabeth, a woman who had lost her husband in a car accident and wants to leave her three young children to join him in death by wandering out into the snowy deserts of Lapland. As she wanders through the snow, Elizabeth discovers the story of Aron and Ina, a couple who overcame dark secrets and over-controlling family members to be with each other.

The late-'60s avant garde rock band CAN gets a feature-length tribute with this affectionate documentary chronicling its odd inception and subsequent career. In CAN -- The Documentary, the remaining band members are interviewed amidst culled together archival footage from talk shows, concerts, and television appearances to paint a portrait of a band who always remained happily on the sidelines of mass appeal, mixing street music, jazz, folk, and rock into a sometimes poppy, sometimes abstract stew. The band's influence on such seminal acts as Sonic Youth and Talking Heads is also analyzed.

Italian Francesco ( Mario Adorf ) runs a restaurant in Cologne , partnership is the brewer Zach ( Willy Millowitsch ) . Francesco has problems : a " Godfather" makes Zach an offer he can not refuse , the wedding between Francesco's daughter and Zach son bursts , and his wife threatened behind his affair to come up with kiosk owner Hilde , which lasts at least 18 or older to ...

An East German man finds a way to cross the border between East and West Berlin. But when he succeeds in bringing his wife out as well, things are not quite as expected.

Nik, a released prisoner who started writing in prison, wants to leave his past behind him, but refuses to contact his former girlfriend and her family. Under the name of his jail buddy Henry, he moves in with his pen pal - who has never seen him - and is always watched suspiciously by their roommate. Nik began writing in prison and now seeks contact with the literary culture, even though he feels disgusted by the pompous fuss of this society. He is not without talent and works on a novel in which he minutely describes the abduction of an industrialist. Henry gets shot at the prison breakout and visits Nik to get help from him. He likes his novel plot and wants to put it into action.

One night when seeking his estranged wife, Hoffmann goes to the youth center where she works. The police are there rounding up radicals who frequent the center - Hoffmann runs into the building and ends up being shot in the head. He awakens with brain trauma, partially paralyzed and unable to speak. The police accuse him of stabbing an officer; the radicals herald him as an innocent victim of police brutality. During his slow recovery at the hospital, Hoffmann must piece together his life and struggle to remember the events of that night.

미국의 풍경에 대한 글을 써야하는 필립은 글을 쓰지 못하고 대신 폴라로이드 카메라로 사진을 찍는다. 그는 독일로 돌아가는 공항에서 앨리스라는 소녀를 본의 아니게 맡게 되고 그녀와 동행하게 된다. 빔 벤더스의 초기 로드 무비 중 첫 작품으로 벤더스의 ‘Alter-ego’인 뤼디거 포글러가 처음으로 주연을 맡았다.

The experimental German krautrockers CAN's legendary "Free Concert," recorded in Cologne's Sporthalle, Germany, on February 3, 1972. The circumstances of this Cologne show were unusual. Rather improbably for such an experimental band, Can actually scored a chart success in Germany with "Spoon," which would later be tacked onto the end of Ege Bamyasi.

Two rival gangs try to obtain the five parts of a dangerous formula held by five scientists.

A candidate in a game show is hunted by three men. He will get a Million DMark, if he survives for a week; the hunters will get the money, if they can kill the candidate. The audience of the show is watching the transmissions of twenty camera teams filming the hunt. The showmaster appeals to the TV-viewers to help either the candidate or the hunters, whomever they want.

Peter F. Schneider's 1968 abstract political satire.