FREE ON YOUTUBE John Travolta - Grease

Back when Grease came into the cinemas, the nostalgia wave of the 50s ran. Today we have "You're The One I Want" by John Travolta and Olivia Newton John Saturday night in our movie art bar Fitzcarraldo (with soap bubbles and DJ Snow) and everyone is freaking out. The nostalgia wave of the 70s disco runs in the middle of the 10s! To avoid misunderstandings; Grease is quite an average musical. Nevertheless we all love it! And that's because of John Travolta! And although Grease isn't his greatest movie, this Disco Musical has charm! And when did Travolta ever come so close to his obvious role model Elvis? And the story? Grease is set somewhere in California. Performance Danny (Travolta). He is a "Greaser" (= leather prolet) and falls in love with the rich Sandy (Olivia Newton-John). The summer ends and they separate forever. Thinking Danny and Sandy. But then they meet again, attend the same high school. There Danny is the hard "Greaser" and Sandy wears candy coloured dresses. The 50s are reconstructed as we remember the 70s today. Idyllic! There are "Hot Rods" and "Malt Shops" and everything looks like in "Rebel Without A Cause". Just much more kitsch, of course. But the only thing that doesn't have to shy away from the difference to the classic musicals of the 50s is Travolta. Ironically, neither he nor the other students look like teenagers. Grease doesn't honestly deal with the feelings of the teenagers whose suffering shakes her and whose crisis of self-esteem crushes her. Unfortunately, Grease can't remember it.

FREE ON YOUTUBE Russ Meyer - Cherry, Harry & Raquell

FREE ON YOUTUBE  If you read about the king of skin flicks, you'll find that every year he visits his dead mother's grave. Those who then watch his 29 films will always find the same names. Childhood friends of Meyer. All his films are set in greasy places, far away from everything. A Russ Meyer film is instantly recognizable! It only takes one shot! Characteristic: The dusty landscape of the American hinterland. Meyer himself served in the war and this can also be seen in his films, which are almost staged like military operations. A formative image: Close-ups of police sirens. Then I imagine a woman with voluminous breasts rising out of a muddy river. Or a big-bosomed woman on a barren mountain slope. The Monument Valley behind her is trumped by her own enormous curves! Russ Meyer is THE bosom man of film history. I think only one thing counted for his casting: size. Where might he have found all his incredible breasts? And when the decade of silicone expansion began, Meyer's bosom stars like Ushi Digard were loyal to him. Of course, they had MORE bust! Meyer's love for breasts was the great happiness of his life! He loved forms, but not functions of the human body. When sex movies became "hardcore" sports events, he ended his career. For many years Meyer was the goal of feminists. That changed a few years ago and it was recognized that Meyer movies are pro-women. Meyer shows strong women with a firm will! The mindless sex objects, on the other hand, are always men. In Meyer films it is the men who are tortured, abused and pushed around. This is how it works: Woman meets man, uses him and moves on.

FREE ON YOUTUBE Glauber Rocha - Antonio Da Mortes

I have always believed that no one wants to buy low quality for a high price. That's why I'm sure nobody needs a Netflix subscription. YouTube is the only place where so many films are free and in good quality on YouTube! That's why I collected exactly these movies on cinegeek.de and linked them for you. FREE ON YOUTUBE  What traps are there if you want to make a political film? First, the tendency to self-satisfaction. A very little liberal and therefore unsympathetic way of thinking. Secondly. The emphasis on the historical context, because that would quickly make your film forget. And who should remember the specific context in the future? Who knows, perhaps there are so few political films because of these two traps? Let's think back to the time of the Brazilian filmmaker Glauber Rocha. To the time around 1968, when film scholars in particular demanded that FILM be the image of society. FILM should draw attention to social and political grievances. Particularly important at that time in Brazil (and in South America as a whole) was the rejection of American cinema! What alternative did you have to produce as your own films? That's how Cinema Nuvo was born. Representation of the social reality of Brazil. Filmed on the streets, in the slums with amateur actors. Cinema Nuvo sees itself as Anti Hollywood with its genre stencils. Cinema Nuvo is REVOLUTIONARY! In Antonio das Mortes he ennobles Brazil's dark and bloody history with his military dictatorships. Antonio is the Man of the Dead (borrowed from Rocha's second feature film). It's about ruthless warfare, but also about myth, religion and fantasy. The story of a contract killer who turns into a revolutionary. He is commissioned to kill the "Cangaceiro", but at the end of his mission he realizes who the true enemy is: the big landowners. For our eyes Antonio Da Mortes seems bulky and unusual with his long shots and strange cuts. My reaction: What's going on here? And yet I was tied up! Isn't it the case that such films change our perception of cinema forever? Then there's the mission of the video store: How do I get a cultivated DVD version? Back then, during the founding of our film art bar Fitzcarraldo, I became aware of the Swiss DVD distributor Trigon Film. The program included above all films from South America. Glauber Rocha with German subtitles! I had searched in vain before. That's why I immediately ordered all available titles for a nice sum, because after all they were Swiss export DVDs. Those that get stuck in our customs. I had to drive to Schöneberg, where you could wait in a customs hall. The whole afternoon. Torturing! They handed me the DVDs, calculated the value added tax and customs duties. Finally I could enter them and put them on the shelves for you. Result: Hardly anyone was interested in Glauber Rocha. Who knows, maybe this will change now, because you don't have to get Antonio Da Mortes from Schöneberg, but can watch him in good quality with English subtitles on YouTube?

FREE ON YOUTUBE Rainer Werner Fassbinder - Welt am Draht

It was 1982 when Rainer Werner Fassbinder phoned Paris from Munich. He told a friend that he had flushed all his drugs down the toilet. All except a pinch of cocaine. It was supposed to be his last. Fassbinder died at the age of 36 - but WHAT a work he left behind! What a level he thought! Fassbinder made his debut at 22 and his last film at 36. In between are 40 films! It could well have been another 60 without this last pinch... Could he have maintained his level in old age? We can't know. But we can enjoy his stylistic vision, which he had created with such small budgets. The fact that Fassbinder left such a treasure is no wonder that Welt Am Draht was almost destroyed in it. You didn't know his TV Mini series for a long time. When we founded Filmkunstbar Fitzcarraldo, there were still legal disputes about Fassbinder's work and possible DVD releases. I preferred to buy Fassbinder DVDs in England - because of the English subtitles and because there weren't many releases in Germany. As an import we also got World On A Wire - which so many guests had asked for! The subject seems familiar today, but not then: the idea that the world as we know it exists in a completely different world. Possibly even as a computer simulation? The focus is on Stiller (Klaus Löwitsch), an engineer who works for Simulacron. This is a program that creates identities for characters who have no idea that they are not real. Simulacron promises to be the technology of the future, but there is an evil intent behind it: total control. Maybe even the programmers of Simulacron themselves will be manipulated by an even higher instance? However - when I looked at Welt Am Draht again - I did not get the impression that Fassbinder was so interested in its history. As in so many late works of New German Film, it is all about the pictures, the exercise in style itself. What do they look like this time, the characters embodied in so many Fassbinder films by the same actors? All Fassbinder characters speak the same strangely artificial language. Never; not even in the 70s, has a human ever spoken like that! All these figures belong to a pure art world. Stiller's dilemma is that his world simply doesn't make sense. He works for Vollmer (Adrian Hoven), who programmed Simulacron. Then he dives mysteriously. Then Lause (Ivan Desny), the head of the security department, also disappears. Just a moment ago Lause was talking to Stiller at a party... Strangest of all is the fact that no one has ever missed Lause or heard of him. A nobody. Fassbinder's camera now glides around his characters and opens impressive spaces in front of our eyes. In an occult way she demonstrates how all figures are connected with space and time. And among each other. The dialogues are ironic. Everything seems affected, like they drink or smoke. Everything is mannered. Take the test and imagine other famous cooper in World On The Wire: How would they have played? It's easy for me to imagine! Fassbinder is the great puppeteer. Of course, Stiller also corresponds to HIM; Cooper. As Stiller thinks and lives, so Fassbinder thinks and lives. Fassbinder loves pathos in his great movies. He exaggerates feelings like jealousy and anger. He exaggerates everything. World On the wire is quieter. Here his figures hide behind the shimmering surface of the pictures. Anyone who knows Fassbinder knows, of course, that here too everything revolves around his own thoughts, his vision. In Welt Am Draht it is packed in a science fiction case and that is exactly why the Mini Series is one of his most popular works today!

FREE ON YOUTUBE Shion Sono - Love Exposure

Films, legal on the Internet cost 8.99 per month. Mubi offers "hand-picked" films, but only 365 per year. Netflix offers discarded Hollywood films, just like Amazon. From the selection: 47 Ronin, Fast & Furious 8, 22 Jump Street (...) Does anyone know them? Costs 8.99 a month. My cinegeek.de idea: Simply browse YouTube for streams in good quality and make them available for free. 0.00 per month.  The program is based on our DVD assortment of the Filmkunstbar Fitzcarraldo.  Unlike Netflix & co, we don't buy what we can get cheap, but what we like. FREE ON YOUTUBE - The son of a priest goes astray. He photographs panties. A fall from sin. Those who wanted to describe Love Exposure are challenged: All genres are served, countless popo-cultural references are used, numerous unbelievable storylines are connected. Running time: Almost four hours. And time flies by! Shion Sono works much less as a director. He is a poet. Down in the cellar of our film art bar Fitzcarraldo (now right at the entrance of the golden room) you can find his DVDs in the rental. Sono's work is kitschy and pseudo-intellectual, sometimes sublime and above all borderline! Love Exposure is Sono's masterpiece! Pathos and parody, somehow narcissistic, but above all EXTREMELY. The story? The widowed catholic priest Tetsu (Atsuro Watabe) starts an affair with Kaori (Makiko Watanabe), the nymphomaniac. Then Kaori leaves him. From now on Tetsu extorts confessions from his son Yu (Takahiro Nishijima), who is apprenticed to a Kung Fu master after he has run out of sins. It is Yu who places cameras with his gang under the mini skirts of the girls. "Chikans" - as such voyeurs are called in Japan. Performance by Sasori (yes, exactly the one from the 80s classics). Yu meets Kaori's stepdaughter Yoko (Hikari Matsushima) in Sasori disguise. Yu, who suffers from an Oedipal complex, believes to see his mother (or is it the Blessed Virgin Mary?). Yoko in turn suffers from an Electra complex. She hates men. A typical Sono figure is Aya Koike (Sakura Ando): She was castrated, abused by her father. Now she leads a cult called Zero, which also converts Tetsu and Kaori. Yu now has to fight for the final battle to redeem his loved ones... Suffering and transcendence, anarchy and nihilism. And the proverbial search for love! Sono regards his countrymen like herd animals. To destroy this mentality, that might be the real concern of Love Exposure.

FREE ON YOUTUBE Gates Of Heaven

FREE ON YOUTUBE - "There's your dog; your dog's dead. But where's the thing that made it move?". A central question that no philosopher has ever been able to answer. And seldom has anyone asked it better, has they? A woman who has just buried her dog pronounces these words. They form the central truth, the heart of Errol Morris Gates Of Heaven. Anyway, I have Gates Of Heaven today - once again! - looked at. What is it about? At least much more than animal cemeteries. Morris, who is not a filmmaker at all, heard about this cemetery, looked for a cameraman and spoke to the paraplegic operator of the cemetery. So the legend goes. The result is an unknown classic. One of the greatest documentaries of all time! Sure, after Gates Of Heaven, Morris was to become one of America's most famous documentary filmmakers. I started working on him in 2011. At that time I ran the Filmkunst video store, which I wanted to convert into a bar. To the Filmkunstbar Fitzcarraldo. I also wanted an avant-garde selection. With Gates Of Haven, however, I was more involved than with any other avant-garde title! I love this movie! It gets along without the narrative of participants. In two parts, interrupted by a great monologue. The first part is by Floyd McClure, who remembers the cruel experience of losing a pet when he was a child and was finally picked up by the garbage collection service. His words are of powerful intensity and delicate poetry. The enemy is the operator of the factory that recycles dead animals. That must be hell! Things happen there that we don't even want to know about (like when a giraffe dies in the zoo). But the highlight of Gates Of Heaven is the monologue by Florence Rasmussen. She sits in front of her house with a view of the animal cemetery and talks about her life. As vivid as the greatest American poets! Then we travel to Cal Harberts, who founded a church in the Napa Valley that teaches that God loves both humans and animals. Cal's wife expresses the philosophy of the church most clearly: "Surely at the gates of heaven an all - compassionate God is not going to say, well, you're walking in on two legs". Should there be a God, he would hardly presume that! Then the long monologue of a dog owner - uninterrupted. What does she advise us to do about the death of her four-legged friend? "Neutered". The perfect cinematic moment! Then the shots of the animal cemetery of the Harberts: "For saving my life." Last words to a dog. There's a lot to laugh about in Gates Of Heaven, because Morris is a master of subtle irony. But during these passages my breath falters. Too bad that the movie isn't shown in the cinemas anymore! Silence. That would capture the hall at this moment. I absolutely have to suggest to my nomadic cinema partner Werner to include Gates Of Heaven in the program! In any case, I think that the signs on the animal cemetery bear witness to great wisdom. They express the deepest human needs for love and society. It is Floy McCure who says: When I turn my back, I don't know you, not truly. But I can turn my back on my little dog, and I know that he's not going to jump on me or bite me; but human beings can't be that way." Are such people ridiculous? Because they care so much about their dogs? No, they are not.

Berlinale 2019 and the winner is...

Who knows the difference: films in competition, panorama, forum? Or Perspektive Deutsches Kino and Berlinale Special? But we approach the programme in a playful way, just like a video store should. After all, they're not just fans of film scholars! President is the great Juliette Binoche, who has a close connection to the Berlinale anyway. Her early films of Leos Carax were already shown in Berline and here she also received a Silver Bear. This vintage 2019 is also a special one because Dieter Kosslick takes his famous hat. After 18 years! But before that he has to endure enough orga stress, whether with the People's Republic of China, since the last Zhang Yimou film was allegedly not finished, or with Netflix, who are nothing but the enemies of all cinemas, video stores and film lovers. That's why Netflix films are allowed - 2 days? A week? - They run almost invisibly in the cinema and are then hidden in their trashed catalogue. Poor Isabel Coixet! She will never know whether people liked her film at all! Here is a collection of the most interesting films - for us from the Filmkunstbar Fitzcarraldo. We limit ourselves to ten; this is not a value judgement at all. They are only fans!

FREE ON YOUTUBE John Frankenheimer - The Iceman Cometh

FREE ON YOUTUBE (YOU FIND THE WHOLE FILM FREI AUF YOUTUBE) Everything begins with a drop of beer from a barrel. Is that the Styx to the other side hell? It has to be that way! An Irish salon, 1912, Greenwich Village. A room full of drinkers, the whores upstairs. They are all waiting for the "Iceman" Hickey (Lee Marvin). The owner of this bar is Harry Hope (Fredric March). A good joke, because he gave up all hope a long time ago. He hasn't even left his house in twenty years. This house is the end of the road. Every man here has a dream, something that keeps him alive. Except Larry Slade (Robert Ryan). These dreams go something like this: Tomorrow one of them will be sober. Tomorrow he gets his job back. Or: Tomorrow he marries one of the whores from above and makes her a respectable woman. But in The Iceman Cometh almost nobody has the strength to act. I don't mean to act positively, but to do anything at all. Hickey will kill his wife, so he belongs to the minority that has the courage to act. The young Don kills himself. Larry is the most intelligent person in the room. He comes to the conclusion that death is to be welcomed. Somehow everyone here is dependent on each other because they know each other. That is not love, but hate that unites them. The Iceman Cometh is considered the greatest drama of Eugene O'Neill. Nevertheless, it is hardly performed because it is over four hours long. In 1960 Sidney-Lumet tried his hand at a TV version, thirteen years later John Frankenheimer, the specialist for intimate theatre. Of course, it was impossible for this play to become a commercial cinema film. All the more welcome is Frankenheimer's ambition! The result is a virtuoso film with outstanding actors! Nobody plays badly, some even big! Robert Ryan's Larry has such wise and sad eyes. Ryan's game almost turns Larry into a tender character! And every aspiring actor should consider Lee Marvin a Hickey! A man who is said to have found peace. A peace based on murder! A tortured lunatic or a true believer! Fredric March as Harry Hope seems to be at least a bit better than his guests. He tolerates them because he lives off them. So we dive deeper and deeper into these rooms. We see more and will remember more than most of the films we will see in this life.
Translated with www.DeepL.com/Translator

FREE ON YOUTUBE Chris Marker - La Jetee

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) Als ich die Filmkunstbar Fitzcarraldo gründete, hängte ich zuallererst einen Briefkasten vor den Laden. Daran die Aufforderung, Filmwünsche in den Kasten zu werfen. Dadurch wurde mir gleich zu Beginn klar, was ich unbedingt anschaffen musste: Chris Marker. Filmkritiker nennen ihn einen Meister des "Eassay Films" und berühmt wurde er durch sein fiktives Zeitreise Märchen La Jetee zu Beginn der 60er. Nur eine halbe Stunde dauert La Jetee, doch wie gewaltig ist sein Einfluss auf das Science Fiction Genre und insbesondere auf Zeitreise-Filme? Jahrzehnte später sollte Terry Gilliam die Grundidee von La Jetee in Twelve Monkeys wieder aufgreifen - und Chris Marker dafür in den Credits seines Blockbusters nennen. Marker selbst hat nie wieder so einen Film wie La Jetee gemacht. Zumindest nicht direkt. Und dennoch: Jeder seiner folgenden 60 Filme ist eng mit La Jetee verbunden. Immer geht es um menschliche Wahrnehmung, Erinnerungen und wie sie unser Leben verzerren. Dem entspricht Markers Verständnis von Geschichte. Objektivität stellt für ihn etwas geradezu Anstössiges dar. Marker beobachtet die Welt stets durch eine erfundene Prämisse. Und natürlich wird die Welt immer auch durch Markers "cinephile" Perspektive wahrgenommen, denn wie so viele Autoren der Nouvelle Vague begann er seine Arbeit als Filmkritiker. Das macht Markers Filmkunst zu einer ausgesprochen französischen Filmkunst. Zu französisch? Nicht für mich! La Jetee und alle anderen Werke von Marker nehmen an einem intellektuellen Diskurs teil, der eng mit der französischen intellektuellen Tradition verbunden ist. Verkürzt beschrieben: Ausschlaggebend ist dabei immer der eigene Gemütszustand. Marker kann demnach überhaupt keinen "objektiven" Film machen. Egal, was er zeigt, er kann nur einen Film über das Denken DARÜBER inszenieren. Nicht das Objekt an sich. Klingt das arg theoretisch? Aber die Filme von Chris Marker sind oft auch witzig und sogar bewegend! Und nicht zuletzt: Seine Essay Filme, die auf Bildern beruhen, die er selbst nicht gedreht hat, sondern aus Wochenschauen und Nachrichten übernahm - sie wurden nie Opfer der Argumente ihrer Zeit. Dadurch wirkt La Jetee auch heute noch so modern. Marker interessiert sich für die reflexive Natur des bewegten Bildes (obwohl La Jetee aus Standbildern montiert wird). Ganz zu Beginn von Markers Sans Soleil (1983) erklärt der Erzähler seine Probleme mit einem bestimmten Bild, auf dem das Glück zu sehen sein soll. Man erkennt das Glück aber gar nicht. Das Bild ist einfach schwarz. Genauso funktioniert Chris Markers Kino: Wir sind gezwungen, uns unsere eigenen Realitäten zu suchen. Wir sind gezwungen, auf einen schwarzen Bildschirm zu starren, um darin das Glück zu suchen. Wer weiss, womöglich erinnern wir uns dabei an eigene Glücksmomente? Was kann Film noch mehr leisten? Und deshalb wundert es mich nicht, dass ihr damals so oft "Filme von Chris Marker" oder "La Jetee" auf eure Zettel geschrieben habt und in unseren Briefkasten geworfen.

FREE ON YOUTUBE Shane Meadows - Somers Town

 Ich habe im Atlas nachgeschlagen. Somers Town? Nicht gefunden; beim besten Willen nicht. Ein britischer Kunde unserer Videothek aber hat mir beigebracht, dass Somers Town ein Ortsteil von London ist. Und selbst das wissen nur wenige! Shane Meadows nutzt diesen klangvollen Namen für eine sanfte Komödie mit Thomas Turgoose, Meadows toller Entdeckung! Er spielt Tomo, einen frechen, offenherzigen Jungen aus Nottingham. Der rennt von Zuhause weg, denn dort ist alles kaputt. In London steigt er aus dem Zug aus, ohne den leisesten Schimmer, was er nun tun soll. Er sammelt Erfahrungen mit der Londoner Strassenkriminalität und trifft dann den verträumten Marek (Piotr Jagiello). Marek ist ein einsamer Junge. Er ist verknallt in die Bedienung französische Maria (Elisa Lasowski). Tomo beschliesst, dass auch er in Maria verliebt ist. Nachdem Maria nach Paris zurück gekehrt ist, machen die beiden Jungen untereinander aus, sie zu aufzuspüren... Somers Town wirkt wie ein Kurzfilm, den Meadows auf Spielfilmlänge ausdehnte (dementsprechend ist Somers Town auch nur 75 Minuten kurz). Das ist aber kein Nachteil! Vieles bleibt in der Schwebe, aber das hat bestimmt auch den Grund, dass in dem Alter von Tomo und Marek die Freundschaft zählt - und noch nicht die Liebe. Der Weg ist das Ziel! Nicht das Mädchen. Tomo erklärt Marek, dass er Marias rechtmässiger Besitzer ist. Mit einem frechen Grinsen, aber auch herzzerreissender Verletzlichkeit. Das ist der Ton von Somers Town. Ein glücklicher, sonniger Film!

FREE ON YOUTUBE Fatih Akin - Soul Kitchen

Wilhelmsburg in Hamburg ist kein Kiez für Feinschmecker. Hier gibts eher frittierten Fisch mit Pommes. Zinos (Adam Bouskoudos) bedient das und klatscht dem Gast lieblos das Essen auf den Teller. Dann aber bekommt seine Freundin Nadine einen Job in Shanghai und der liebeskranke Zinos erleidet einen Bandscheibenvorfall. Ein neuer Koch muss her! Shayn (der tolle Birol Ünel, dem Akin - so die Gerüchte - eigentlich die Hauptrolle verpassen wollte, wobei Ünel aber mittlerweile in Berlin gestrandet ist) heisst er und verlor gerade seine Arbeit in einem Gourmet Restaurant. Er schickt sich nun an, aus Zinos Spelunke ein Restaurant zu machen. Es entsteht ein Traumladen mit der Musik, die dem Film seinen Titel verpasst hat! Dann aber kommt Zinos Bruder Illias aus dem Knast und droht, den Traum zu zerstören... Soul Kitchen ist ein Film, dem es weniger um die Handlung geht, als um die Situationen. Eigentlich ist fast alles vorhersehbar - eigentlich! Dann aber gelingt Akin eine Wendung, welche die vertraute Situation zu etwas eigenem macht. Der Humor ist schön lässig und es gibt so viele skurrile Verwicklungen wie in einer 30er Jahre Komödie. Wenn Moritz Bleibtreu als Illias rhythmisch mit den Nackenmuskeln zuckt, wissen wir, warum Akin ihm so lange die Treue hält. Der Höhepunkt der Liebesgeschichte zwischen Zinos und seiner Physiotherapeutin findet statt beim türkischen Hausarzt und dann gibts sogar noch einen Einbruch, der schiefgeht, weil der Einbrecher versucht, Autostop mit der Polizei zu machen. Kochfilme werden meistens für ein gediegenes Publikum massgeschneidert, Akins Film ist anders. Hier wird mit Soul und Funk improvisiert während Shayn dasselbe in der Küche tut. Akin selbst improvisiert auch, überdreht seine Situationen, baut Slapstick ein, verliert aber nie den Boden unter den Füssen. Soul Kitchen ist zwar witzig, spielt aber nicht in einer Komödienwelt. Immerhin gehts hier ja auch um die Verteidigung des Kiezes gegen die Heinis, die in der Gegend "investieren" wollen.