FREE ON YOUTUBE Wristcutters

FREE ON YOUTUBE  What does a life after death look like without considering heaven or hell? The intermediate realm looks like a run-down industrial area, where nothing works, where there are no jobs and the food doesn't taste. Everyone who lives there has committed suicide. It also looks like nobody has sex there! Possibly for theological reasons? How could a child be born in the land of the dead? How would he learn to love his father with a hole in his skull? Wristcutters: A Love Story is best cast with Patrick Fugit as Zia, who was abandoned by his girlfriend Desiree (Leslie Bibb) and cut his wrists. A wristcutter. But life played a trick on him: He didn't die, but ended up in the same life as before, only more desolate, surrounded by suicidal people. One of them, Eugene (Shea Whigham), becomes Zia's new friend. Eugene used to be a Russian rocker who once pissed in the audience and died of an electric shock. Now Zia hears that Desiree also killed herself, so she has to stay on this side of "life" as well. Zia and Eugene hire Mikal (Shannyn Sossamon) to search the whole land of the dead. A road movie of the not quite dead! At least on the Road To Nowhere there are guys like Tom Waits, who heads a commune of the outcast... The idea of fraudulent afterlife has something fascinating about it: The misery doesn't stop, but only really begins after the suicide. After all, Zia has a job waiting for her at Kamikaze Pizza. Mind you, Wristcutters is not a comedy in which you want to laugh out loud. Everything here is bittersweetly tempered and driven by melancholic humour. Goran Dukic has invented his own genre and his own type of death: Post Suizidal.

FREE ON YOUTUBE Michael Winterbottom - 24 Hour Party People

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) Michael Winterbottoms 24 Hour Party People tells the story of the Manchester music scene - from the first Sex Pistols concert to bankruptcy. The film shines with a kind of inspired madness. Based on the facts, it's insignificant for us Berliners (who weren't there!) whether we all know them. 24 Hour Party People also works by simply identifying ourselves with the hero posing in a horrible way. A guy who takes himself seriously, even though there is nothing to take seriously! Wilson, who really existed, is embodied by Steve Coogan. A kind of comic character - and that's how the concept of Winterbottom works: reality and rapture are lively whisked together and something emerges that is much more truthful than a "normal" documentary could be! Wilson is a lanky guy with a doggy face and the ability to recite banal stuff with an urgency as if it were the end of the world. A sincerely insane man! During the opening scene we see Wilson attending his first Sex Pistols concert in Manchester. In this (as well as other sequences) Michael Winterbottom mixes footage material with played passages. Something happens at night that changes rock music forever. But the Sex Pisols still fail because of Sid Vicious's legendary murderous suicide. I think the Sex Pistols were so famous because they failed! Had they been successful, they would inevitably have become commercial. Basically Johnny Rotten "died in the tube" years after the band - a quite remarkable achievement! For Tony Wilson "anarchy" has nothing to do with politics, but with his condition. It's the state of mind! Wilson is sure to have seen the future and founds Factory Records with his partner. They offer nothing for sale, no back catalogue, no contracts. With his own blood he signs the agreement not to conclude any contracts. The rest is history, Factory establishes itself as one of the most successful labels ever. Joy Division or Happy Mondays belong to Factory and the label founds a club where all the money for ecstasy is spent. Wilson is not interested in all that. He explains that he can't offer anything to investors who want to buy Factory. No back catalogue, no contracts: "We are an experiment in human nature. I protected myself from the dilemma of selling out by having nothing to sell." A truly endearing character who speaks in strange film dialogues. Nothing of him sounds real! 24 Hour Party People fortunately doesn't work according to the principle of nostalgic transfiguration of a bygone musical era. The film is staged in the spirit of Wilson, embodying the insanity of Factory Records! Michael Winterbottom is just as fanatical a filmmaker and lover as Wilson was as a "label" operator! He loves his characters with all his heart and understands what began with the Sex Pistols and was destroyed in the 90s. The film doesn't take itself seriously; once Wilson looks directly into the camera and tells us that a scene is missing (which would certainly be on DVD). No plan, no strategy, just an attitude! This is punk and Winterbottom has internalized it.

FREE ON YOUTUBE Harald Lloyd - Safety Last

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) What is the most famous picture from the silent movie era? A guy with a straw hat and horn-rimmed glasses hanging from the hand of a clock, twelve floors above the street. The scene is from Harold Lloyd's "Safety Last". Who has ever seen it before? I mean, the whole movie? Exactly - the customers from our video store didn't. Everybody knows the scene, nobody knows the film. Lloyd was the third genius of the silent era. Unfortunately, his work has never been as easily accessible as Chaplin & Keaton's. Fortunately, there's YouTube, where you can stream all of his major films! Lloyd's work in the 20s surpassed that of Chaplin. He produced many more films and was more accessible to the average citizen. A guy like you and me. Lloyd's character was normal. Uninspired and uninteresting. That's why he needed the glasses - they formed his character! Here he plays - "The Boy" - a dealer who becomes the manager of the department store. And he wants to go even higher. His trick: the roommate should climb the skyscraper. A great marketing idea in itself! But a policeman appears and drives the roommate away. "The Boy" himself has to replace him and climb the building... The Clou: Everything looks real! It really seems to be Harald Lloyd, who climbs onto the building, is thrown with peanuts and is chased by pigeons. After all, there were no special effects in 1923! So we are on the building with the glasses character and share his joy of finally arriving at the top. And we understand why Lloyd trumped Chaplin & Keaton during the 1920s: his character is mortal. A real man. A real guy who was forced to do extraordinary things. Pay attention to the subtleties. Certainly the scene wasn't rehearsed big! Certainly the background is real. And certainly Lloyd was in danger of his life! The fascinating thing: Everything not only looks real, but also new. We can experience this just as intensively as on the day of the premiere in 1923!

Film List berlin Movies 2010s

"One Night, One City, One Cut." A fitting advertising slogan for Sebastian Schipper's groundbreaking experiment Victoria! Allegedly, he and his team filmed the 138-minute feature film only a few times and then selected the best one. When we were shooting our documentary about the video store, I suggested we do the same. The director, Lea Bethke, said that it would have to be well prepared. Is that so? Yes, when running backwards with the camera you can easily hit furniture and that's it. In Victoria this works without any hidden cuts - when a door closes. We are somewhere in the middle. Not in the most beautiful part. In the new building Mitte.  We go down to techno clubs or out on the house roofs. Every Berliner knows how nice a summer night is on the roof, right? Victoria (the great Laia Costa) is new in Berlin. On her way back from a windowless basement club she meets a group of boys. With Sonne (Frederick Lau) she starts flirting and having the kind of conversations we loved so much in Richard Linklaters Before Sunrise. But Victoria wasn't the only highlight of the decade. On the contrary! Oh Boy (a Slacker comedy), Who Am I (a German cyber thriller that isn't embarrassing) and best of all: The Berlin series Im Angesicht des Verbrechens and 4 Blocks! Who compares our lists with Berlin movies of the 80s and 90s will notice how big the leap in quality is! and the Berlin indie productions? They don't miss out either. Old star Klaus Lemke shot after his successful Berlin Für Helden Kein Grosses Ding. Rather a comedy about the relationship between men. Staged to a large extent in our video store and even with me as the evil boss. Or the whole Mumblecore series, especially Luca Tanzt Leise (also filmed in our video store), Ich Fühl Mich Disco or Tiger Girl. So it's time for a new Berlin List!

Film List Teenager Comedies 80s

The late 70s discovered the teenager as a target group and thus protagonists of movies, in the 80s followed a whole flood of teen comedies, which somehow cheifered John Hughes. Hughes from Chicago, director of Breakfast Club or Ferris Bueller's Day Off and producer of a whole series of similar comedies (Pretty in Pink) is one of the most influential AUTHORIZERS of the decade! He established a whole squad of actors, the "Brat-Pack". But in contrast to his imitators, Hughes films are sensitive and sensitive - but luckily they are never instructive! Here are teen comedies gathered, which follow this claim! Have fun in pink!

FREE ON YOUTUBE Nesfarsit

Cristian Nemescu died during a traffic accident in Bucharest before he could finish California Dreaming - Nesfarsit. So here comes a fragment and yet we feel: A very big one! Nesfarsit also means "unfinished". A melancholic Culture Clash comedy, completely committed to the tradition of "Balkan cinema". We are in the hinterland of Romania at the time of the Kosovo war. NATO bombs the former Yugoslavia as a train with military freight is stopped in a Romanian village. Papers are missing and the local mayor (Ion Sapdaru) insists on keeping the bureaucratic order. Of course it is absurd what the Americans feel on their four-day break! The stationmaster (Razvan Vasilescu), on the other hand, has personal motives to stop the train... Sure, the 28-year-old director would have slimmed down his 155-minute work a bit. Maybe he would have worked out the melodrama even better in the comedy. But what we have is a brilliant "what if"! A funny and intellectual comedy about a miscommunication. Even more: We experience the dark past of Romania, but also the future - full of hope!

FREE ON YOUTUBE Linie 1

FREE ON YOUTUBE  As a child my parents always took me to the Grips Theater. Left children's theatre where the villains were: A) The father, B) The landlord, C) The boss. Then Grips author Volker Ludwig created a musical for adults. That was 1986 - a long runner, a giant success. And how would such a theatre musical work in the cinema? Reinhard Hauff directed Berlin Film entirely in the studio. With the theater actors out of their brains, but also with a new leading actress. She looks as cute as Nena and is called Sunnie (Inka Groetschel). Sunnie is new in Berlin, lands - as usual at that time - at the Bahnhof Zoo. This is how the Line 1 concept works: tourists and newcomers like Sunnie come across Berlin Aborigines. West Berlin Aborigines, because at that time we only lived in one half of the city. During the 80s they didn't necessarily want to head east - to Kreuzberg. But Sunnie did. Finally the U 1 goes direction Kreuzberg. To Schlesisches Tor. Behind it the sector border begins. On her way from Charlottenburg to Kreuzberg with the U1 Sunnie meets Pennern, Punks, Spontis, Spiessern, Turks, Faggots and Wilmersdorfer widows. They put the Nazi pension of their husbands in the Café Kranzler at the Ku-damm. So we are dealing with a real Berlin film. And you don't need helicopter shots from the TV tower! Line 1 is an artificial studio production, but still looks like a time travel to the Kreuzberg of the 80s. And don't we all miss it?

Film List Sci-Feeling

For the second time I watched Upstream Color by Indie wunderkind Shane Carruth. A romance, a science fiction drama and even a thriller. In Upstream Color a young couple is connected by a mysterious experience: Through a hypnosis caused by body robbing parasites. This alienates them from their environment. This dream connects the couple, creates an inexplicable attraction. A theme I would rather associate with Pasolini than with George Lucas, wouldn't it? And who remembers the Sundance winner Another Earth? Another Earth features a new planet four times the size of the moon. Another Earth - or exactly the same Earth - in another universe that we are only now seeing? Everything that has happened so far is given a much deeper meaning by this discovery. So we are looking for science fiction films that want to tell us more than what happens from one minute to the next. Films that offer experiences that are not ours. Images, sounds, situations - the essence of experiences.

FREE ON YOUTUBE Shane Meadows - Once Upon A Time In The Midlands

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) Once Upon A Time In The Midlands sounds familiar with the sound of a plaintive harmonica and distant flutes. Shane Meadows' film evokes the atmosphere of an Italo Western, which carries the comedy with a wink. But we are neither in the west, nor in southern Spain, but in Nottingham (as usual with Meadows). There a group of typical working class characters gets into a whirlpool of love, loss and revenge - and western music. Dek (Rhys Ifans) wants to lead his long-time lover Shirley (Shirley Henderson) to the altar, but she rejects him. At the same time, her former husband Jimmy (Robert Carlyle) comes to town. A classic western situation, because Shirley now has to decide between a respectable shopkeeper and a vagabonding "gunslinger" (at least Jimmy takes on this function). Shirley and Jimmy have a daughter together, which he uses as a reason for his return. Jimmy manages to rekindle the dark fascination he once triggered with Shirley. Meanwhile Dek dreams of a showdown with the villain (but not with revolvers, but drills). In truth, he's already about to give up if it weren't for Shirley's daughter, who sees him as her father. Meadows films this with a lot of tenderness and in general he develops a great affection for all characters - except Jimmy's characters. Once Upon A Time In The Midlands also features real slapstick scenes like the bank robbery. We as viewers know, of course, that none of the participants would be able to do such a thing. Maybe they saw it in a Western, but in reality everything fails! The red-haired Rhys Ifans is the actual main actor: His game allows him to play strange characters as well as normal ones: In Meadow's film, Dek, after Shirley tells him that she doesn't feel any love for him, is so caught in self-doubt that he just agrees with her. Dek himself doesn't think of himself as being kind anymore after the rejection. Not only the soundtrack, but also Brian Tufano's camera remind us of an Italo Western, whereas Meadows doesn't force these parallels on us at all. He simply transfers the fight between good and evil to Nottingham and has fun with various allusions. The music is supposed to help beyond the sequences, because you just can't understand the accent...

Nouvelle Vague Komödien

Für mich handeln die besten Filme der Nouvelle Vague von der Liebe. Von der Körpersprache und der ewigen Spielchen der Menschen. Aber nicht in einem ideologischen oder gar akademischen Sinne, sondern in tiefer Kenntnis der menschlichen Natur. In dieser Liste findest du Nouvelle Vague Komödien, die du dir bitte nicht allein ansiehst. Du wartest auf einen Abend zu zweit, denn danach wirst du über die Filme reden wollen. Einverstanden?

FREE ON YOUTUBE David Bowie - Just A Gigolo (West-Berlin 1978)

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) David Bowie made only one film during his time in Berlin: Beautiful Gigolo, Poor Gigolo. We see world stars like Curd Jürgens, Kim Novak and Marlene Dietrich in their last appearance. Beautiful Gigolo, Poor Gigolo shows the Berlin of the 20s: The poverty on the streets, the nightclubs, heady Nazi villains and a lonely hero. David Hemmings simply left his stars to themselves as a director. Curd Jürgens once again plays the Herrenmenschen and Sydne Rome is stupid with pretty Glubschaugen. David Bowie is the Prussian officer Paul von Pryzgodski, who returns to Berlin after the First World War, but no longer finds his home. He plays a gigolo and is finally shot by Nazis. We are in a scenario that could have been taken from a comic book. Underground a Nazi colonel works on the resurrection of the Aryan race and hears Wagner. Meanwhile Gigolo Paul is seduced by a widow at her husband's coffin. Marlene Dietrich acts as the boss of the Gigolo Service and is even allowed to sing a number (which we'd better keep quiet about). It must be considered a curious decision that she chose David Hemming's film after 17 years of screen abstinence. Despite its obvious ridiculousness, the film reveals something about the Berlin Wall of 1978: the Senate provided unusually high subsidies to re-establish the city as a film metropolis. So Marlene and David Bowie were added together for a crashing flop at the box offices. For Bowie another costume in his career, for Marlene a forgotten departure and for Berlin a typical Schildbürgerstreich.

FREE ON YOUTUBE Yilmaz Güney - The herd

FREE ON YOUTUBE  The Herd is the story of the Kurdish people. Only nobody was allowed to speak Kurdish, otherwise he would have been thrown into prison. That was the situation in Turkey in 1978, in order not to glorify the past. Here in Kreuzberg whole corners are assigned. Turkish, Kurdish or sometimes Zaza Kurdish. The director Yilmaz Güney was a bit of everything. At some point his wife came to our video store. She discovered the subject in the author's sorting with her husband's work. Even with English subtitles. Mrs. Güney noticed that bootlegs are a good thing after all. Much better than the original DVD editions that don't have subtitles! (Of course I sank into the ground with shame). Anyway, Güney was exposed to state dogma all his life. "There are no Kurds". "There is no Kurdish language". One can imagine how whole families grew up up uprooted. Güney must have decided to make films against this background. He had been arrested several times. Our former colleague from the video store, Nazli, told me that he even fled prison. In his most famous film, he filmed it. Güney escaped in 1981. He left Turkey. For us in the West, Güney is the epitome of what we understand as "Third Cinema". The third cinema, not the first one from Hollywood and also not the second art cinema. The "third cinema" has a political effect. In The Herd, Berivan (Melike Demirag ) is married to Sivan (Tarik Akan) to end a long family feud. It does not succeed. Berivan and Sivan flee to Istanbul, hosted by the brother who embodies the political consciousness of the film. The rich in Istanbul and the rich at home are the same, he recognizes. Only those who exploit you can afford to live here. Doesn't that slowly also apply to Berlin? In The Herd only sheep thieves and sheep dealers drive cars. Prosperity is always confronted with poverty. The majority will never share in prosperity. The effect of The Herd in Turkey was brilliant: Güney's films were censored. The cinema that The Herd showed was bombed. The most fundamental contradiction The Herd reveals is the reactionary attitude of those who are exploited. To understand this, one afternoon before the late afternoon is enough. The political debates of my bouncers, for example, are revealing. Berivan is the only one to perish. She falls ill. The Herd gives us the only possible response: organised political action to give the dispossessed a perspective of justice.

Filmlist Pedro Almodovar - Pain And Glory

Take the test: Try to summarize an Almodovar film - after you have seen it - in five sentences. It will not succeed! But Almodovar movies seem so easy! However: After going to the cinema you think you just experienced something like a confused dream. I saw the first Almodovar film in 1989, thirty years ago. One of those colourful, crazy, sexy films from the early days. I think Pain And Glory remembers these films. The first film from Almodovar's late phase. Like all Almodovar movies, Pain And Glory is about love. And he was never more tender! Pain And Glory tells the story of the aging filmmaker Salvador Mallo (Antonio Banderas), who suffers from severe back pain. Salvador has never been able to overcome the death of his beloved mother, even after years. Just as little as the loss of his great love! Maybe these are the reasons why he doesn't make a new film anymore? Short and sweet; Salvador's story is that of Pedro Almodovar. Salvador spends most of his time in the bedroom. He takes pills. He is in a state of twilight, alone in his large apartment, amidst his beloved works of art. He remembers his mother (Penelope Cruz), radiant and beautiful. She loved her son so much! I think Cruz, who has been shooting with Almodovar since the 90s, knows her house director well enough to know how he felt about his mother. Bandera's close connection with his director is just as strong. If I count correctly, they both made ten films together. No guarantee, I won't check it out on imdb now. It's up to the customers to correct me. Essential: The long cooperation between the main actors and the director creates a unique magic on the screen! Then Salvador meets his great love (Leonardo Sbaraglia) again after years. What a cinematic moment! They kiss, embrace. The neck is tingling! We feel all this what both feel for each other: Longing. Reconciliation. Passion. Pain And Glory has become a really big movie! A film in which we merge with the characters.

FREE ON YOUTUBE Bukowski: Born Into This

FREE ON YOUTUBE  Every boy of my generation read Bukowski. Probably we all had the wrong impression. Didn't we? At 24, Bukowski practiced sex for the first time. With a prostitute who weighed about 150 KG. As he tells this story, he blushes. Like a teenager. Probably every boy of my generation would have expected a tough guy, not an insecure little boy. John Dullaghan's "Bukowski: Born Into This" approaches the poet through readings and interviews. Friends like Sean Penn, Harry Dean Stanton, Bono and Bukowski's publisher are interviewed. (Bukowski knew quite a few Hollywood stars for hating Hollywood). The film also remembers Linda Lee Bukowski, the woman he loved and cursed. One of those relationships in which the woman cares for the man, even feeds him. There is such a thing. One of our customers from the bar, constantly drunk and on top of it, is also supported by such a nurse. Bukowski always took the view that it was not easy to be an alcoholic. He drank persistently and consistently and smoked small cigarettes from Pakistan. Linda Lee Bukowski must have been about as patient as our chief Druffi's girlfriend. She understood Bukowski, who asked only one thing: understanding. This is how it works: When Bukowski attacks angrily, you have to understand him as the injured victim. Imagine that in real life: An aggressive drunkard whom we must regret. Right at the beginning, he threatens a spectator during his reading to climb down into the audience. He asks for a pot to puke inside. Bukowski loved to drink red wine every day. Then he wrote. Everyone can understand his poems. Once he wrote a script. The novel "Hollywood" is about how Bukowski sketched "Barfly". He neither liked the film nor the leading actor Mickey Rourke. At least Rourke still looked attractive at that time. Different than the original. And certainly the real Bukowski never met women like Faye Dunaway. Different from his alter ego in the movie. But sometime during the late 60s Bukowski was famous and could have sex with groupies. That came too late for him. Of course, you can be skeptical when every boy of a whole generation reads the poems of a boo-boo poet. Is all this real or just a pose? Can you separate the literary Chinaski from the real Bukowski? The best thing is to read it again. What he wrote is a blast! Immediately and sincerely. When we read it, we feel that the wounds he is talking about are really his own.

NOMADENKINO A Clockwork Orange 2.7.19, 21.30 About Blank

Paranoid dystopia. She is supposed to stir up fear of a dangerous police state exercising thought-control. Really? No. Above all, a vicious hero is being celebrated here: Alex. Alex is a child who makes snails crawl over a knife and tears the legs out of flies. A creepy mean guy. But Kubrick likes Alex. I don't. He is a sadistic rapist. Kubrick admits that Alex is the only positive quality that he likes Beethoven. Maybe just so he can put pathetic Beethoven music on the soundtrack. Alex spends his time in a white painted milk bar. Listen around; most people who want to open a bar sooner or later come up with the idea of opening just such a white bar. Otherwise we don't learn anything about Alex's inner life. His motivation to be the way he is. I would call it a "hipster" movie. Alex, the milk bar, his whole world aren't pop art. Abstraction. He and his world (including Beethoven soundtrack) are "cool". This is not a vision of the future. Just "cool" decor. Why is Alex the way he is? Not a pale glimmer. Because society is so cruel? Nonsense. Simply because it's "cool". It's entertaining and that's how Clockwerk Orange works. Of course Kubrick filmed Anthony Burgess' novel. But he took his world and turned it into "style". Empty inside. In it Alex - filmed from below - sometimes seems like someone who has a message. He seems more than just a sadistic rapist. But that's not true. Alex is pointless. And at the end? There he gets cured. By the police state. It is now no pervert, no rapist anymore. He is forced into anti-violence and anti-rape therapy. Should we be happy about this? Kubrick's film says yes.