Felix Moeller

잉마르 베리만 탄생 100주년을 기념해서 국제적으로 널리 알려진 감독 마가레테 폰 트로타는 베리만의 삶과 작품들을 조명한다. 그와 가장 가깝게 협업했던 이들과 새로운 세대의 영화 연출가들이 그에 관한 이야기를 나눈다. 이 다큐멘터리는 베리만이 남기고 떠난 작품들의 주요 요소를 밝히는 동시에 그의 삶에서 되풀이되었던 주제들의 발자취를 따라나선다.

잉마르 베리만 탄생 100주년을 기념해서 국제적으로 널리 알려진 감독 마가레테 폰 트로타는 베리만의 삶과 작품들을 조명한다. 그와 가장 가깝게 협업했던 이들과 새로운 세대의 영화 연출가들이 그에 관한 이야기를 나눈다. 이 다큐멘터리는 베리만이 남기고 떠난 작품들의 주요 요소를 밝히는 동시에 그의 삶에서 되풀이되었던 주제들의 발자취를 따라나선다.

West Germany in the 1970s. Many artists, journalists and intellectuals were branded as sympathizers of Baader-Meinhof's left-wing terrorism. The parents of the director, too: Margarethe von Trotta and his stepfather, Volker Schlöndorff. With extensive archive materials and film clips as well as Margarethe von Trotta's private diaries the film portrays one German family and the society of the time.

West Germany in the 1970s. Many artists, journalists and intellectuals were branded as sympathizers of Baader-Meinhof's left-wing terrorism. The parents of the director, too: Margarethe von Trotta and his stepfather, Volker Schlöndorff. With extensive archive materials and film clips as well as Margarethe von Trotta's private diaries the film portrays one German family and the society of the time.

West Germany in the 1970s. Many artists, journalists and intellectuals were branded as sympathizers of Baader-Meinhof's left-wing terrorism. The parents of the director, too: Margarethe von Trotta and his stepfather, Volker Schlöndorff. With extensive archive materials and film clips as well as Margarethe von Trotta's private diaries the film portrays one German family and the society of the time.

West Germany in the 1970s. Many artists, journalists and intellectuals were branded as sympathizers of Baader-Meinhof's left-wing terrorism. The parents of the director, too: Margarethe von Trotta and his stepfather, Volker Schlöndorff. With extensive archive materials and film clips as well as Margarethe von Trotta's private diaries the film portrays one German family and the society of the time.

The majority of films made before World War II are missing. They have rotted, or destroyed accidentally or on purpose. Horror classics like LONDON AFTER MIDNIGHT might be gone forever. Many other films are presently in danger of decomposition. LOST EMULSION tells that story, and the story of film restoration. Discover the plight of the lost films like the Edison Frankenstein, the work of Theda Bara, Lon Chaney, Wallace Reid, Joan Blondell, Raoul Walsh and more. Learn firsthand what The Library of Congress is doing to preserve our film heritage.

Between 1933 and 1945 roughly 1200 films were made in Germany, of which 300 were banned by the Allied forces. Today, around 40 films, called "Vorbehaltsfilme", are locked away from the public with an uncertain future. Should they be re-released, destroyed, or continue to be neglected? Verbotene Filme takes a closer look at some of these forbidden films.

Between 1933 and 1945 roughly 1200 films were made in Germany, of which 300 were banned by the Allied forces. Today, around 40 films, called "Vorbehaltsfilme", are locked away from the public with an uncertain future. Should they be re-released, destroyed, or continue to be neglected? Verbotene Filme takes a closer look at some of these forbidden films.

Between 1933 and 1945 roughly 1200 films were made in Germany, of which 300 were banned by the Allied forces. Today, around 40 films, called "Vorbehaltsfilme", are locked away from the public with an uncertain future. Should they be re-released, destroyed, or continue to be neglected? Verbotene Filme takes a closer look at some of these forbidden films.

Though almost forgotten today, Veit Harlan was one of Nazi Germany's most notorious filmmakers. His most perfidious film was the treacherous anti-Semitic propaganda film Jud Süß - required viewing for all SS members. This documentary is an eye-opening examination of World War II film history as well as the story of a German family from the Third Reich to the present; one that is marked by reckoning, denial and liberation.

Though almost forgotten today, Veit Harlan was one of Nazi Germany's most notorious filmmakers. His most perfidious film was the treacherous anti-Semitic propaganda film Jud Süß - required viewing for all SS members. This documentary is an eye-opening examination of World War II film history as well as the story of a German family from the Third Reich to the present; one that is marked by reckoning, denial and liberation.

Though almost forgotten today, Veit Harlan was one of Nazi Germany's most notorious filmmakers. His most perfidious film was the treacherous anti-Semitic propaganda film Jud Süß - required viewing for all SS members. This documentary is an eye-opening examination of World War II film history as well as the story of a German family from the Third Reich to the present; one that is marked by reckoning, denial and liberation.

A documentary about the life of the actress Hildegard Knef.

A documentary about the life of the actress Hildegard Knef.

The history of a family, in the film business now for three generations, behind and in front of the camera. The film is not only a foray through the history of this remarkable family, but also through the history of German film and contemporary history as well.

The history of a family, in the film business now for three generations, behind and in front of the camera. The film is not only a foray through the history of this remarkable family, but also through the history of German film and contemporary history as well.

The films, affairs and struggles of the iconic star of The Blue Angel as told by Rosemary Clooney, Roger Corman, Deanna Durbin and many more.

Frenchman Abel Tiffauges is a naive man who lives a simple life working as a mechanic. Falsely accused of being a child abuser, he is recruited as a soldier when World War II begins, but is captured soon and taken to the heart of Nazi Germany.

1896년 로자 룩셈부르크는 독일의 민주정부 설립과 폴란드의 혁명을 위해 투쟁하면서, 그녀의 정치적 재능을 모든 사람에게 인정받게 된다. 그러나 레오 요기헤스(다니엘 올브리쉬스키 분)와 긴밀히 협동하면서 그들의 정치적 활동은 개인적인 관계에 어려움을 가져오게 된다. 국제적 긴장감이 감돌자 로자는 전쟁과 군국주의를 비난하는 연설을 하게 되고 그녀의 사회주의자 동지들은 로자를 급진적 인사로 치부하게 된다.

Olga and Ruth become friends. Olga is independent, separated from her husband, living with an immigrant pianist, and teaching feminist literature. Ruth is withdrawn, a painter, possibly mentally ill. Ruth dreams in black and white, sometimes of her suicide. Olga lectures on a 19th-century writer, von Günderrode, a suicide after the breakup of her intense friendship with Bettina Brentano. Ruth's husband Franz encourages the women's friendship, then, as Olga draws Ruth out and the friendship deepens, he becomes jealous. After the women travel to Egypt, Franz has a tirade. Ruth seems crushed between her husband and her friend, and how she responds is the film's climax.

Germany, 1968: The priest's daughters Marianna and Juliane both fight for changes in society, like making abortion legal. However their means are totally different: while Juliane's committed as a reporter, her sister joins a terroristic organization. After she's caught by the police and put into isolation jail, Juliane remains as her last connection to the rest of the world. Although she doesn't accept her sister's arguments and her boyfriend Wolfgang doesn't want her to, Juliane keeps on helping her sister. She begins to question the way her sister is treated.

Three people rob a bank to help a day care center that's in debt. Wolf is captured, Werner identified, police suspect Christa is the third. She and Werner ask Hans, a clergyman, to launder the money and give it to the kindergarten. He refuses. They try Ingrid, Christa's friend, who tries to help, but the school rejects the money. When tragedy strikes Werner, Hans helps Christa bolt to a collective in Portugal. Ingrid visits her; their relationship makes the collective nervous, so she returns to Germany and ceases living in hiding. The police are still looking for her and so is a witness to the robbery, Lena, a bank clerk. Lena's interest brings Christa's second awakening.

Anti-Semitism is on the rise worldwide, driven to new extremes by the COVID crisis. This film documents the visual roots of this new anti-Semitism, taking a historical look at the visual propaganda of the Nazis.