In 1986, Ross McElwee (Sherman's March) and Marilyn Levine were making a film about the 25th anniversary of the Berlin Wall, when the imposing structure was still very much intact as the world’s most visible symbol of hardline Communism and Cold War lore. They thought they were making a documentary on the community of tourists, soldiers, and West Berliners who lived in the seemingly eternal presence of the graffiti emblazoned eyesore. But in 1989, as the original film neared completion, the Wall came down, and McElwee and Levine returned to Berlin, this time to capture the radically different atmosphere of the reunified city.
Bored with the limited and tedious nature of provincial life in 19th-century France, the fierce and sensual Emma Bovary finds herself in calamitous debt and pursues scandalous sexual liaisons with absolute abandon. However, when her volatile lifestyle catches up to her, the lives of everyone around her are endangered.
Cecilia Barriga’s culty video montage tells the story of two queens who fall in love, unwittingly played by Marlene Dietrich and Greta Garbo. Clipped from their most iconic works, the Chilean born video artist manipulates scenes from the legendary actresses to turn two of the most well known Hollywood starlets in film history into a silent-film style lesbian fantasy. Barriga drives the narrative using common motifs such as the cigarette and the one-eyed glance from beneath a wide brimmed hat, motifs which are familiar to us, but recontextualized within a queer narrative. Major points for including a rainmaker in the soundtrack.
A Little Stiff is a 1991 minimalist comedy directed by Caveh Zahedi and Greg Watkins based on true events and re-enacted by the actual participants. Caveh Zahedi plays himself as a neurotic film student who develops a crush on art student Erin McKim after a brief encounter in an elevator.
Owing to his alleged involvement with communist parties, film director David Merrill is forbidden from working in Hollywood. He decides to fight for his rights and faces numerous challenges.
An expose of the beliefs, history, and personalities of American White Supremacist groups, including neo-Nazis, fascists, the Ku Klux Klan, and the Aryan Nation. Footage includes interviews, as well as the supremacist's own promotional material. Subject discussed include the loss of America to the "colored" races, the imminent racial bloodbath, interracial breeding, prejudice, the Holocaust, Jesus, Christianity, Jews, the Bible, and illegal immigrants who enter the country with nuclear bombs strapped to their backs.
The first film in Jean Rouch's filmography is not his first film at all. It was edited by a French news company, using images he had shot but organised into a very different sequence from his own. On top of that, it was accompanied by a colonialist commentary said by a sports reporter! As we watch, Jean Rouch ad-libs a new commentary more in keeping with his images, and so, in 1991, he finally finishes his first film! - Dominique Dubosc
Director Andreas Voigt interviewed people of different ages and social backgrounds about their experiences after the fall of the Berlin Wall. He paints an important picture of this historic period in German history, filled with radical social and economic change and insecurity. Last Year Titanic was shot from December 1989 through December 1990 — the last months of the GDR and the first months in united Germany.
In early summer 1989, Helke Misselwitz portrays young musicians in a band who produce their music on other people’s waste items. The four boys call themselves "Bulk Rubbish" and they drum out their resentment, having grown up on the new housing estates of East Berlin. A straight-up picture of the GDR youth is presented here, which in no way conforms to the official image. The film crew concentrates on the observation of the boy Enrico and his mother Erika: when the mother marries in the West, her son decides to stay in East Berlin, bidding her farewell at the border-crossing. Only shortly after, the tables are turned again: as the events in Berlin leading up to the fall of the Wall are practically captured live from the film crew, Enrico insists on maintaining his cultural identity, even after the fall of the Wall. The "Bulk Rubbish" musicians want to remain citizens of their own state and perceive the looming reunification with scepticism.
Before there was Disneyland, there was Coney Island. By the turn of the century, this tiny piece of New York real estate was internationally famous. On summer Sundays, three great pleasure domes--Steeplechase, Luna Park and Dreamland--competed for the patronage of a half-million people. By day it was the world's most amazing amusement park, by night, an electric "Eden".
Journalist Daniela Dahn interviews the East-German author Christa Wolf during the German reunification: reflections on history, changing politics, life and work.
Captain Thomas Sankara was the leader of the Burkinabe Revolution. This film is a biographical profile of the revolutionary, the improvements he generated in his country and the new socio-political dimension he instituted in Burkina Faso.
Wolfgang Mattheuer, together with Bernhard Heisig and Werner Tübke, is one of the main protagonists of the Leipzig School. With works such as Behind the Seven Mountains (1973) the graphic artist, painter and sculptor is one of the most controversial and yet most celebrated artists of the former GDR. With the use of mythology, literary references, and ambiguous details, he subverted the ideological edicts of the system. This film presents the great works of this reserved, yet perceptive ‘picture maker’. An insightful interview with Mattheuer introduces us to his eclectic visual world and his metaphorical response to contemporary events and the GDR regime.
Painter and government official – the two sides of Willi Sitte which made him the most important yet most controversial East German artist. Portraying the working class, defying imperialism or revealing intimate togetherness, he became the leading figure of Socialist Realism. His career in the Association of Fine Artists (VBK) and the Central Committee (ZK) of the SED elevated his status to that of ‘Prince of East German Painting’. Reiner Moritz met the controversial, first-rate draughtsman in his studio after the fall of the Berlin Wall. Through his life and work, he traces the story of Sitte’s artistic development in the service of socialist ideology.