Ed Cantu

The engineer Rosalie leads a life without standing still. She doesn't feel old for a long time, only mature. When Rosalie returns to Germany after a fainting spell at a solar project in Africa, it's just supposed to be a breather. When she shows up at her bourgeois sister Margret's with a huge container, she is not very enthusiastic about the surprise visit. The retired teacher sees right through that Rosalie isn't staying with her voluntarily. The well-travelled woman is broke! It seems like a miracle that there are a huge chunk of banknotes in a hole in the wall of the room. On the other side of the wall there is the room of the highly talented high school graduate Karla, who rents a part of Margret's house with her father Harald. After a failed first meeting, Rosalie befriends with the wheelchair-bound teenager and sets her mind on getting Karla out of her sheltered isolation, even against her will.

Неудачно припарковав машину, Катрин задевает кабриолет Яна. Между ними вспыхивает словесная баталия. Бросив мужчине листок с номером страховки, женщина удаляется. В мужчине просыпается инстинкт охотника: он не может отпустить «жертву», не познакомившись с ней. Ян преследует Катрин и получает ее домашний адрес. Вскоре они начинают жить вместе. Вот тут-то и обнаруживается глубокая пропасть, которая разделяет такие два разных существа, как мужчина и женщина. И, похоже, так предопределено самой природой, что они не могут сосуществовать в гармонии…

At the beginning of the twenty-first century, abstraction - that most quintessentially modernist innovation - maintains a peculiarly contradictory position. Used, on one hand, by post-modernist artists as just one more quotable style amongst many, it is on the other hand still considered an elitist or hermetic language by audiences intimidated by its lack of recognizable subject matter. Yet ultimately, abstraction continues to be a viable creative path for contemporary artists of all generations, many of whom embrace it as the most inclusive and fundamentally resonant of artistic languages. Filmed at the artists' studios, the Dia Center for the Arts, and the Guggenheim Museum during their exhibition, "Abstraction in the Twentieth Century."

Documentary about Amadeo Antonio from Angola, who got killed by Neo Nazis in Eberswalde, Germany on the 25th of November 1990

Hámos' fascination with the cultural mythology of the hero culminates in this witty, elaborately crafted drama, which was produced for European television. Hámos intercuts two parallel narratives to tell his story: a cartoonish, campy science fiction adventure, shot on video; and an elegant, cinematic political thriller, shot on film. Hámos blends the two genres into a tragicomic tale of the role of heroes, their immortality, and the catharsis of a heroic death. The science fiction melodrama features a comic book superhero, Hurry Cane, who saves the earth from the evil Emperor Argon; in the film noir, hired killers have a contract out on the hero Cane. Hámos' analysis of the myth of the hero is articulated in his collusion of the two stylized dramas and their contrasting representational modes..