Set in contemporary Vienna, the film involves a photographer, Anna, who discovers that extraterrestrial beings are colonizing the minds of her fellow citizens by raising the human aggression quotient. The outer world immediately becomes disjointed, yet the inner world does too, as Anna and her lover, Peter, try to hang onto their deteriorating relationship.
Wanda, a dominatrix who runs an S&M gallery on the Hamburg waterfront, must choose between her lesbian lover and an American trainee.
A young German soldier named Paul goes AWOL and returns to his childhood home in the countryside. Over a few summer days, Paul evades the responsibilities of everyday life and falls in love with his brother’s girlfriend, disrupting the lives of everyone in his circle.
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
Story concerns two friends, Freya and Irmtraut and their relationships with the same man, Traugott, who finds it impossible to choose between the two women.
A journalist runs a strict, scheduled routine to date four different women simultaneously, while keeping them completely separated from one another. His charade slowly starts falling apart.
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
Shares 4 cast members · Same director
"This video film shows indecency in its modern form. While peddling naked female flesh was considered indecent in the past, we can see by the examples of today´s star athletes that skin full of advertising sells better. The same applies to politicians, of course, though in a more subtle way. Advertising on skin as the new indecency! I consider this film to be a continuation of my previous work with the body as a vehicle for social codes. While in the past it was religion that dictated male and female behaviour, which was also expressed in their physical appearance, business has now assumed this role. Business dictates physical behaviour, physical pressure in its most direct form, and even sets standards for how our bodies are to be represented. Religion no longer prescribes morality, that is now done by the global power of business, with its products and codes. Morality has found a new patron." (Valie Export)
Shares 2 cast members · Same director
Isabelle, a geneticist recovering from a toxic marriage, is raising her only daughter, Zoe, with her contentious ex-husband. Zoe means everything to her mother and so when tragedy strikes the fractured family, Isabelle travels to Russia in seeking the help of a world-renowned fertility physician who Isabelle believes can help bring back her little girl.
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A journalist runs a strict, scheduled routine to date four different women simultaneously, while keeping them completely separated from one another. His charade slowly starts falling apart.
Shares 2 cast members · Same director
Story concerns two friends, Freya and Irmtraut and their relationships with the same man, Traugott, who finds it impossible to choose between the two women.
Shares 4 cast members
Amy Pond and Rory Williams are trapped on a crashing space liner, and the only way the Eleventh Doctor can rescue them is to save the soul of a lonely old miser. But is Kazran Sardick, the richest man in Sardicktown, beyond redemption? And what is lurking in the fogs of Christmas Eve?
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After the collapse of Earth's ecosystem, Vesper, a 13-year-old girl struggling to survive with her paralyzed Father, meets a mysterious Woman with a secret that forces Vesper to use her wits, strength and bio-hacking abilities to fight for the possibility of a future.
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Near a gray and unnamed city is the Zone, a place guarded by barbed wire and soldiers, and where the normal laws of physics are victim to frequent anomalies. A stalker guides two men into the Zone, specifically to an area in which deep-seated desires are granted.
Years after a pandemic wipes out most of the female population, a father struggles to shield his daughter from a dangerous and predatory world.
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After an encounter with UFOs, an electricity linesman feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.
"This video film shows indecency in its modern form. While peddling naked female flesh was considered indecent in the past, we can see by the examples of today´s star athletes that skin full of advertising sells better. The same applies to politicians, of course, though in a more subtle way. Advertising on skin as the new indecency! I consider this film to be a continuation of my previous work with the body as a vehicle for social codes. While in the past it was religion that dictated male and female behaviour, which was also expressed in their physical appearance, business has now assumed this role. Business dictates physical behaviour, physical pressure in its most direct form, and even sets standards for how our bodies are to be represented. Religion no longer prescribes morality, that is now done by the global power of business, with its products and codes. Morality has found a new patron." (Valie Export)
“Six young people move through a city in order to establish the starting point of their joint action. But they can’t agree on the topic. In the end everybody goes their own way and leaves the city.” - Hartmut Bitomsky
Part of the episodic film, Seven women, seven sins, this is a different take on the Adam and Eve story. Eve does eat the apple and her curiosity makes her human. Her generous gesture of offering people things turns into a compulsion to feed others.
From the 1950s onwards, Erika and Ulrich Gregor brought countless film historical milestones to Berlin and shaped cinema discourse in post-war Germany. A look at the life and work of the couple without whom Arsenal and the Forum wouldn’t exist.
Home movies shot on Super 8mm by W+B Hein over 10 years.
‘Kunst & Revolution is a documentation on the famous action known as the “filthy uni mess”, which led to a jury court trial. I only had a few metres of film with me and they were quickly spent, but still the film gives one a rough impression of the events. As a whole mythology quickly arose around the event, I altered the material to counteract this effect (through repetition, and adding other material, for instance from a film about keeping dogs, and my own leftover footage from the Muehl action number 54 ‘Im Freudenauer Wasser’).’ In film 16 of his anthology Ernst Schmidt Jr. documented the actions of Günter Brus, Otto Muehl, Peter Weibel and Oswald Wiener.
Berlin Underground-star Ulrike S. went to the Toronto-Filmfestival and then to New York - to find out something about the film business and also about her own desires, daydreams and nightmares.
A guy having sex with a woman on a rooftop – just to get her coffee-machine.
