Hans Peter Cloos

Deep in the heart of the Moselle, in the Uckange furnace Park, is a crime scene as spectacular as it is baffling. The victim is the former Director of the site. When the relentless but sensitive Clément Leroy, captain of the criminal section of the Metz gendarmerie, sets out to investigate, he reconnects with his childhood love, Laure Thouvenin, the victim's daughter and a specialist in industrial history. As this free and unconventional woman becomes increasingly involved in the case, she and Leroy unravel the shocking story of their respective families running over three generations.

Pier Ulmann lives from hand-to-mouth in Paris, between construction work and petty theft that he commits on behalf of Rachid, his only “family”. But life catches up with him the day his father is found dead in the street after a long decline. The black sheep of a rich Antwerp family who deals in diamonds, he has left his son nothing, apart from the story of his banishment from the Ulmann family and a thirst for revenge.

Algumas semelhanças são perturbadoras. Como aquelas entre um visconde guilhotinado, um capelão do exército, um vagabundo parisiense e o porteiro do edifício onde se cruzam quase todos esses personagens. E, no entanto, no meio de todo o caos, ainda existe a chance de esperança por um amanhã melhor.

Esta comédia absurda, com seu extenso grupo de vigaristas, ladrões, anarquistas, prostitutas, inspetores-chefes, negociantes de arte e inventores, lembra as vibrantes tapeçarias de Robert Altman. A história gira em torno de dois objetos, um conjunto raro de porcelana de Limoges, do século XVIII, e um retrato aristocrático do século XIX. Quando esses itens são passados, vendidos ou roubados de um personagem para outro, uma vertiginosa dança em volta do excesso começa a tomar forma, o que sugere que, se a história não se repetir, certamente rima. Juntamente com o co-escritor Gérard Brach, cujos outros créditos de co-escrita incluem Repulsão e Tess, Otar Iosseliani usa um leve toque para expor a futilidade da classe e ordem social, transformando em insignificantes as preocupações dos ricos e pobres. Premiada com o Prémio Especial do Júri no 41.º Festival Internacional de Cinema de Veneza.

Germany in Autumn does not have a plot per se; it mixes documentary footage, along with standard movie scenes, to give the audience the mood of Germany during the late 1970s. The movie covers the two month time period during 1977 when a businessman was kidnapped, and later murdered, by the left-wing terrorists known as the RAF-Rote Armee Fraktion (Red Army Fraction). The businessman had been kidnapped in an effort to secure the release of the orginal leaders of the RAF, also known as the Baader-Meinhof gang. When the kidnapping effort and a plane hijacking effort failed, the three most prominent leaders of the RAF, Andreas Baader, Gudrun Ensslin, and Jan-Carl Raspe, all committed suicide in prison. It has become an article of faith within the left-wing community that these three were actually murdered by the state.

Germany in Autumn does not have a plot per se; it mixes documentary footage, along with standard movie scenes, to give the audience the mood of Germany during the late 1970s. The movie covers the two month time period during 1977 when a businessman was kidnapped, and later murdered, by the left-wing terrorists known as the RAF-Rote Armee Fraktion (Red Army Fraction). The businessman had been kidnapped in an effort to secure the release of the orginal leaders of the RAF, also known as the Baader-Meinhof gang. When the kidnapping effort and a plane hijacking effort failed, the three most prominent leaders of the RAF, Andreas Baader, Gudrun Ensslin, and Jan-Carl Raspe, all committed suicide in prison. It has become an article of faith within the left-wing community that these three were actually murdered by the state.