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Hollywood, 1942. The US government pressures Hungarian-born film director Michael Curtiz, who is about to finish shooting Casablanca, to accentuate the film's propaganda message in order to sway public opinion in favor of the country's intervention in the European war.
The film is an allegory in which the attempt is made to show the inner process of movement of the composer's soul at the time of the birth of music.
During World War II, оld Georgian peasant wine-grower Georgy leaves his Georgian village and goes off to the front line, hoping to find his son. George should see and transfer a lot of things, he becomes a soldier and only in the last days of war finds the son...
Satirical short comprising wartime footage, purporting to be from the Soviet Film Agency and depicting a successful bomb strike on Washington.
Jimmy McNamara is an ex-writer and WWII vet turned accountant who receives a call from Vivian, his ex-fiance and nightclub singer. Vivian got a Hollywood contract and is taking Jimmy with her. All he has to do is retrieve the negatives of compromising pictures that put her bright future in danger. But Jimmy's mission might not be as simple as it seems.
“Faust Part 2” reveals the modern Faust in a romantic interlude, an idyll (from the Greek idein, "to see"); also, a journey of the id. A sense of story is inferred through the complex interweaving of human gesture, expression, and bodily movement within vibrantly shifting colours and rhythmic development, creating multiple levels of metaphorical meaning. A collaborative work with paintings by Emily Ripley and soundtrack by Joel Haertling.
When the planes bombed a Slovene town, a Slovene boy and a German girl set on a journey towards the valley, in which there is no war. On their way a black American pilot, who jumped of a shoot-down plane, joins them. Although American planes have killed the boy's parents, he accepts the pilot with enthusiasm. The children communicate with him in German and the valley of peace seems like the last paradise place of refuge. The Slovene boy, the German girl, and the American pilot represent a symbolic triangle of peace in this adventure happening in the middle of the War of Liberation.
The story of Dietrich Bonhoeffer, a German clergyman of great distinction, who actively opposed Hitler and the Nazis. His convictions cost him his life. What is a moral person to do in a time of savage immorality? That question tormented Dietrich Bonhoeffer, a German clergyman of great distinction who actively opposed Hitler and the Nazis. His convictions cost him his life. The Nazis hanged him on April 9, 1945, less than a month before the end of the war. Bonhoeffer's last years, his participation in the German resistance and his moral struggle are dramatized in this film. More than just a biographical portrait, Bonhoeffer: Agent of Grace sheds light on the little-known efforts of the German resistance. It brings to a wide audience the heroic rebellion of Bonhoeffer, a highly regarded Lutheran minister who could have kept his peace and saved his life on several occasions but instead paid the ultimate price for his beliefs.
An average working man who is alone in a world of deception finds himself in a marriage of convenience.
Surrounded by a few party officials, Alexei Ivanov, a stakhanovist smelter, is decorated by Stalin. The "Little Father of the Peoples" takes this opportunity to invoke threats of war.... One day, war indeed breaks out. Bombs fall on the field where Alexei finds himself in the company of the schoolmistress Natacha, his fiancée. Alexei joins the Red Army and soon becomes a sergeant. Fighting rages and German troops advance. Natacha is arrested and deported. But the tide turns decisively with the German defeat at Stalingrad. Now the major offensive against Hitler can begin.
Hamburg, Germany, 1944, during World War II. A serial killer terrorizes the city. When it seems clear that the local police are unable to catch him, forces as dark and terrible as the criminal himself become involved in the case.
Self-absorbed Dr. Lee Johnson enlists with the Army medical corps during World War II, more out of a feeling that it's "the thing to do" rather than deep-seated patriotism. On his first day, he's put into place by 'Snapshot', a sassy and attractive nurse. Their initial antagonism blossoms into romance. Lee then finds himself torn with guilt over being unfaithful to his wife, Penny, who's waiting for him back home.
A re-working, re-editing, and restructuring of Sam Fuller's The Big Red One bringing it closer as originally envisioned by the late filmmaker. It includes forty-seven additional minutes which was not utilized in the film's original release. Supervised by Richard Schickel, Peter Bogdanovich, and editor Bryan McKenzie.
A security guard working the night shift at a strange apartment complex begins to discover that all is not as it seems.
"I do not care if we go down in history as barbarians." These words, spoken in the Council of Ministers of the summer of 1941, started the ethnic cleansing on the Eastern Front. The film attempts to comment on this statement.
In 1942, a young paratrooper in the RAF returns to Czechoslovakia to encourage his fellow countrymen to sabotage the German war effort.
Beverly Ross, the switchboard operator at a local radio station, jumps at the chance to be the DJ for an early morning show before the soldiers at a nearby army camp assemble for reveille. Beverly, with her modern music, camp bulletins and chatter, is a hit with the soldiers. Beverly's younger brother and his two buddies are soldiers at the camp. The buddies vie for Beverly's attentions.
This time, Kapa and Pepe are first of all prisoners of war – and convicts taken to forced labor service, Jews, Hungarian soldiers, German soldiers. Once they are to be executed, then again they are to perform executions. The film tells in spectacular episodes about the fact that in the past more than one century and a half we kept marching from war to war; occupation and liberation turned out to be indifferent, and why couldn’t the Jews execute the SS-guys? Our heroes hover about dilapidated barracks, then again on the bridges of the capital they guess whose satellites or eternal friends for all times we might be just now. In the cupboard, among the preserved fruit bottles, Stalin is still hiding. The authors of the film are cited before court, then in a showcase hospital they are waiting for the end to come. A Soviet soldier-maid closes the film with a Péter Nádas-quote.
A brief, abstract exploration of identity.