Menschen im Deutschland von 1932

Dom starych kobiet

The documentary tells the story of Uschi, a farmer living free and recluded in the bavarian alps. Shot in epic black and white pictures, Still follows Uschi's life over a ten year period. From an untroubled summer of making cheese through pregnancy and the uncertain future of the parental farm, Matti Bauer portrays Uschi's struggle to keep alive the dream of a way of life that has become rather untypical in this day and age.

Andy Warhol directs The Factory regular Louisa "Jackie" Foster for a screen test.

The film shows the various stages of the Stahlhelm's integration into the NSDAP and the Third Reich.

A film about the Nuremberg Party Congress of the NSDAP in 1929.

The 5th anniversary of the inner-German wall to West Germany and West Berlin is on the agenda. The necessity of erecting the border is illustrated by comparing the situation in 1939 and the situation in the summer of 1961 with regard to the "threat of intervention" by the Western powers. Berlin people and GDR border guards are interviewed.

An insight into the work at the UFA-Studios.

This black-and-white archival film outlines the importance of Canada's forests in the national war effort during the Second World War.

Documentary on the former border patrol sergeant Klein. Klein deserted in 1961, defected to the enemy and betrayed state and military secrets. He was caught by the security forces.

In the spring of 1965, Polish citizen Sheybal visits the town of Genthin. He knows his way around the sugar factory. He had to work there as a prisoner of war during the Second World War. He suffered a life-threatening accident. Now he is looking for the people or their relatives who helped him.

Documentary film from a National Socialist perspective on the political development of Germany from the First World War to the annexation of Austria by the German Wehrmacht. The film is presumably one of a series of films intended to convince voters of the achievements of the NSDAP and Adolf Hitler in particular in the run-up to the referendum and Reichstag elections on April 10, 1938

A boy from the desert tries to sell a sand rose in the big city.

Ténérife

Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended life's portrait of New York.

Charles Dekeukeleire, then a questioning Catholic, was spurred into making this documentary on a pilgrimage with the Catholic Young Workers’ Movement. The director’s approach is one of critical reflection; A film emotional and fervent, even acerbic.

Photographic and sound story, through the encounter of characters with their stories of a time without end.

A contemplative, seemingly timeless record of the years Hutton spent in Southeast Asia while working as a merchant seaman. Jon Jost writes, "The film is rich with truly wonderful visions: a thick, white porcelain cup perched on a ship's rail, the tea within swaying gently in sync with the ship while the sea rushes by beyond…the faces of crewmen posing awkwardly but also movingly for the camera; a cockfight on ship; scenes from a bucolic pre–Pol Pot Phnom Penh. Images has the haunting elegiac resonance of Eugène Atget's Paris, the echo of a time and place that was." - MoMA

The film offers three excerpts from the life of a working blind person. It shows in particular the extent to which the guide dog can replace the blind person's lack of sight and how this results in a relationship of loyalty between man and animal of rare intimacy.

Documentary, black and white.

"[Hutton’s] latest urban film, New York Portrait, Chapter III, takes on a unique tone in relation to Hutton’s ongoing exploration of rural landscape. The very fact that Hutton is dealing with older footage, with archives of memory more than immediacy, gives it a different texture than his earlier New York films. Hutton always found the presence of nature in the city, not only in his many shots of sky and vegetation, but also in the geometry and texture of the city itself, which seemed to project an independence from the human." (Tom Gunning)