FREE ON YOUTUBE Kim Ki-duk - 3 Iron

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) Only in Korean original version, but not in Bin-Jip. If you are familiar with the movies of Kim Ki-duk, you know that. Bin-Jip even takes an exceptional position in Kim Ki-duk's work, because speechlessness is not only a stylistic device, but the heart of the story. Kim Ki-duk was always the favorite director of my old partner Skulli. He even bought the rights to the first two Kim Ki-duk films in order to distribute them on DVD for the German market. With little success. His distribution told him that even Bin-Jip was sold only about 1000 times. 1000 DVDs in Germany! And this is a successful Korean film! Kim Ki-duk can be regarded as Enfant Terrible. He shows dogs being beaten and fishhooks drilling into human genitals. Lust inevitably leads to murder in his work. At the center of Bin-Jip is Tae-suk (Jae Hee), who breaks into villas. He lives there for a few days and thanks in his own way by doing the household. He washes and cleans. One night, while sleeping in a strange bed again, he is surprised by the beautiful Sun-hwa (Lee Seung-yeon). A woman abused by her rich husband, who lives almost invisibly in her own house. Without changing a word, Tae-suk and Sun-hwa fall in love. They will never break this vow of silence until the end of the movie. From now on we can't even be sure if Tae-suk is still real or shapeless... Bin-Jip is a ghost story about love in this and the next world. A film about the transcendence of love! And not only Skulli has recommended the film more than 1000 times since our video store was founded.

FREE ON YOUTUBE Wim Wenders - Until The End Of The World

FREE ON YOUTUBE  Who is interested in production notes? For over a year, Wim Wenders filmed in 15 cities, eight countries and four continents. The story takes place in 1999 - in the future. The world of the future looks like ours - only less shabby, less violent and a little more modern or technologically advanced. This world is threatened by the fact that an atomic satellite has freed itself from its orbit and is speeding towards Earth. In this situation, in which people basically stopped living, a beautiful woman (Solveig Dommartin) meets a stranger (William Hurt). Outside on the street. It seems a bit like a movie noir, but the actual plot is still to begin. Wim Wenders movies often start with mysterious characters. And often they are road movies. Typical Wenders characters just appear out of nowhere. Then they get entangled in a series of coincidences and at the end there is insight. While the atom satellite moves towards the earth, the mysterious stranger continues his very own mission. It leads from Venice to Paris, then to San Francisco and finally to Asia. It is to end in Australia, where Wenders finds a kind of metaphysical Mecca. The beautiful woman follows him. She wants to find out what drives him. Those who now expect a classic plot will be disappointed. I would call it a visionary fantasy. The stranger's parents (Max von Sydow and Jeanne Moreau) live in an underground laboratory in the Australian outback. Did the stranger look for materials for his father? But that's the wrong question. Wenders' film seems as if he had improvised at the various locations. His long-time cameraman Robby Muller visually holds together what was perhaps born out of necessity. But that makes this mammoth project all the more interesting! At the time, when the film was shown in the cinema, it was agreed that Wenders had failed. Until The End Of The World most people just found it boring. Then something strange happened. Years later the work came out in a 3 DVD box. We put it in our video store and everybody loved the movie! They found that he had been far ahead of his time! Like Kubrick's "2001"! Even longer, supplemented by further scenes, it became obvious what Wenders wanted to achieve: not to tell a story, but to collect impressions. At the end there is a moral. This morality can be found in the Australian outback, in a place where the Aborigines have been telling each other their stories for centuries. Is that the future? After all, computers that visualize human dreams have already been introduced in the film. But what use is all this technology if it's going to be grilled by the atomic satellite anyway? We'd better concentrate on the traditional way of telling stories. Why should technology tell us how to dream?

Translated with www.DeepL.com/Translator

FREE ON YOUTUBE Alfred Hitchcock - The Man Who Knew Too Much

Critics call Hitchcock the "Master Of Suspense". So is he! But what I remember most about his films is what Hitchcock's films do to us emotionally! Especially bad; the maternal trauma of Doris Days Josephine Conway McKenna in The Man Who Knew Too Much. Who knows, maybe Hitchcock can shock us so much because he knows TO MUCH about us? Because his films use our greatest possible horror. A horror we can't escape. But why do we enjoy being tortured so much? There is so much to read about. Only recently our colleague Lea explained to me that she was basically only introduced to film science at university with Hitchcock. Hitchcock was certainly lucky that his neuroses are universal. He shows us how fragile our world is. And behind it lurks an unknown world. A world that confirms every one of us who secretly wants the worst. The Man Who Knew Too Much is a remake of the British film of the same name that Hitchcock shot about 20 years ago. Who doesn't know the climax in the Royal Albert Hall with the famous cymbal crash during which an assassin shoots? It is often quoted to prove what a great craftsman Hitchcock is. But the moments in which the McKenna couple return to London are the most memorable for him. To the south of London, with dusty streets and the equally dusty Brixton Chapel. The streets are always empty. When someone follows you, you hear every step he takes. A child is trapped in this chapel. Later, during an ambassador's reception, Josephine Que Sere Sera sings to find out exactly in which room the child is being held. Hoping that the child, her son, to whom she recited the song so often, would react. Will Josephine's son hear her? Will he whistle? A wave of hope, but also of despair. And Josephine? She smiles to entertain her audience. And suddenly we realize: Doris Days Josephine doesn't belong to Hitchcock's typical ice blondes. She is a passionate woman! Maybe she was even the only passionate blonde in Hitchcock's repertoire? You notice; it's fun to see Hitchcock movies again, because you always come across something new! Or in my case: On thoughts that I had never thought of before. That's why Hitchcock remains the "Master Of Suspense", but so much more!

Translated with www.DeepL.com/Translator

FREE ON YOUTUBE Roman Polanski - Repulsion

Roman Polanski's psychological thriller is not only deeply disturbing and horrible, but also shows one of the rarest things possible in cinema: A woman commits all the murders! Catherine Deneuve's staring, her fearful gaze dominates the film. This look, we saw him shortly before in a certain shower scene and Polanski has not only copied a lot from this role model. Carol (Deneuve) is a shy, beautiful girl in London. She lives in a somewhat shabby apartment together with her worldly sister Helen (Yvonne Furneaux) in South Kensington. Carol feels disgusted by the disgusting (and married) boyfriend of her sister (Ian Hendry). He comes by for loud sex in the bedroom, right next to Carol and of course leaves his razor in her toothbrush cup. Carol is horrified by the desire of other men, even in front of her discreet admirer Colin (John Fraser), whose sincere love might be just right for her. Her fear of sex increases into a neurotic fascination for dust and dirt of every kind. The state escalates into claustrophobia and paranoia. The nightmare that Carol is preparing for himself is one of the most disturbing experiences I have ever had in cinema. How individual scenes dissolve into bizarre hallucinations that shake you up with fear... Who still remembers the "Assault" scene? The ticking enlarged clock? The cracks in the wall that Carol imagines when she turns on the light? When I saw Repulsion for the first time, it was the borderline experiences of fear that thoroughly unsettled me! I watched very few films that show a completely distorted world through a single point of view. In front of us a world of terror and compassion is revealed - Carol's world. This development is all the more tragic as Carol's beauty pretends to be "normal" and satisfied (after all, all men in the film demand their sexual attention). The first and last shots are close-ups of Carols right eye. A picture from her childhood proves that the rigid gaze, the madness, is already applied to her as a child. Is there an explanation for this? In 1968, Joseph Gelmis asked whether the children's photograph should suggest that Carol was a victim of sexual abuse? Polanski denied that. He only wanted to show that something was already wrong with the girl back then.

In Cinemas: Portrait Of A Lady On Fire

What a very elegant and mysterious costume drama! And one with a feminist perspective about the rapprochement of two women! The so-called Bechtel test is passed easily, because the painter and her model in Céline Sciamma's work of art meet in a secluded castle. Completely without men. Héloïse (Adèle Haenel) is the beautiful daughter of a noble family and she is recovering from the death of her sister. Marianne (Noémie Merlant) is the name of the artist who has been commissioned to secretly portray Heloise. For her future husband from Milan. The promised husband of the dead sister... I had last seen The Death Of Louis XIV, an almost eccentric costume drama from France. And who doesn't remember the enormously bloody La Reine Margot with Isabelle Adjani? Or Gerard Depardieu as Cyrano de Bergerac? Or Le Roi Dance with its excessive baroque pictures? Reason enough for a list!

In Cinemas: Lara

In Jan-Ole Gerster's second film Victor (Tom Schilling) gives his mother Lara (Corinna Harfouch) a food basket. This is how humour works. Like an oath of revelation. Everything concentrates on one day (as in Gerster's debut "Oh Boy"). Lara turns sixty that day and Victor gives the most important piano concert of his career. Sounds like a day of joy - but on this day Lara tries to throw herself out of the window. All her life she worked in the administration of the city and all her life she despised this official job. That's why police officers of all people ring the doorbell while she tries to get everything over with. Lara's passion was always for music, but she gave up because of a single saying by her professor. Then everything went wrong. Her whole life is poisoned. Shortly before, Victor broke off contact with her. Before her sixtieth birthday, Lara is faced with the shards of her existence. Within the short time frame we learn more about Lara. Not that she is a person who reveals much of herself. But we notice: Lara is a control freak, manipulative and malicious. And yet she touches us! Because Lara is also full of haggard passion and intelligence! Then she makes the decision to buy all the remaining tickets for her son's concert. In her evening gown she sets off for the Berlin night. She gives the tickets to her old professor, her neighbour, her former colleague. She has no friends. Of course not. She has devastating words for everyone. Then she meets Victor before his concert, makes him so insecure with a single statement that we have to fear for him... And how did Lara become what she is? "When I think of the day of her first public appearance, I already regret her parents for the embarrassment. A sentence of her professor, whom he just said. As he tells her that evening. Lara had great talent.