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Where are the limits of the good or on New-German of the do-gooder? That's the test arrangement of Anders Thomas Jensen's Adam's Apples (which, by the way, ranks third in our list of the most rented DVDs in our video store!!!). At least on the surface. Performance by the neo-Nazi Adam (Ulrich Thomsen), who just got out of prison and was assigned to the local priest for his rehabilitation. You can't expect much from Adam, who exchanges the crucifix in his sleeping chamber for a portrait of Adolf Hitler. In his file he is described as EVIL in capital letters. But I don't think that the priest Ivan (Mads Mikkelsen) even accepts this term EVIL. In Ivan's world there is only GOOD. A pathological optimist. For the priest it is clear that Adam needs a goal in life. That's why he gives him the first task: Adam is to bake an apple pie and pick the apples from the tree in front of the church. But this apple tree is first attacked by crows, then gnawed up by worms and finally struck by lightning. A sign from God? 

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There was no Nouvelle Vague in Spain after the Second World War. On the contrary, Spanish cinema was virtually non-existent during the Franco dictatorship. After Franco’s death and the end of his regime, it was all about La movida madrilena – across every cultural sphere! Cinema flourished, discovering eccentrics and madmen. To this day, it seems that the Spanish have not forgotten what life is like under a fascist dictatorship. Unlike other European countries, Spain has no extreme right-wing parties vying for power, and has been producing excellent films for many decades.

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Takashi Mike's beautiful film is about real wonders and finding yourself in one of the strangest places in the world: where people can fly. Where life was spared from the intervention of modernity. The Japanese sales representative Wada (Masahiro Motoki) is to travel to China on behalf of a colleague. The destination of his journey are jade deposits in a small village - somewhere in the hinterland of China. The guide Shen (Mako) agrees to escort Wada there, but there is another companion; the violent Yakuza Ujiie (Renji Ishibashi). He pursues Wada because his company borrowed money from the Mafia and demands his share of the find. The three undertake a wondrous journey through the mountains of China. The best idea is to move around in a raft pulled by turtles. However, the original mission falls behind after legend has it that there is a village of flying people in the province. It was the grandfather of the beautiful Yan Si-chang (Li Li Wang), who once flew free like a bird to the sky. He was also the one who built a school of flying for the children. Although there is no proof that the people there are actually flying, Wada and Ujiie are less and less able to escape the fascination of this place. Especially Ujiie seems to fly over this view, to change more and more... To the geeks among you, the work of Takashi Miike impresses above all because of his taboo breaks. When we put The Bird People In China on our video shelves, however, completely different customers were suddenly interested in Miike: those who liked "Arthaus" above all! The work of the tireless Miikes, comprising more than 70 films, no longer comprised exclusively controversial shockers. Miikes Road Movie offers visually stunning nature shots, a few laughs and a lot of fantasy! And even an unobtrusive love story! Freedom and self-discovery are the themes of The Bird People In China. The conflict between tradition and modernity. Miike philosophizes about the effects of modern life and technology on us. The complex questions are much more interesting than possible simple answers! 

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Eraserhead plays in a grim, strange world. Probably in the post-apocalypse. At the center of the film is Henry Spencer (Jack Nance), who wears his hair as if he had just reached into the socket. One evening Henry returns to his shabby apartment to find out that he was invited to dinner by the parents of his girlfriend Mary X (Charlotte Stewart). The worst possible family scene! Mary's mother even lets Henry answer particularly unpleasant questions twice and licks his face after a certain point in time. The grandmother is sitting in the corner. Maybe she is already dead. The father boasts in a good mood that his left arm is deaf. The dinner consists of chickens, which secrete disgusting mass, one cuts into it. And Mary gave birth to a child! A premature birth. But nobody is sure if it is a baby at all? Anyway, the parents insist on a marriage. And what does the baby look like? Like a tormented exorcist worm that permanently segregates innards. A tortured creature that whines and moans. Mary flees and Henry remains alone with the worm. Driven by hallucinations, a prostitute appears to the young father. His baby screams and pukes purulent phlegm. In order to save himself, he is forced to do something terrible... Eraserhead - as we can read - was shot by David Lynch in stages over years. Nevertheless, the film is harmonious and in an uncanny way even beautiful. Eraserhead stubbornly resists any explanation. There is something like a narrative structure, but in the course of the events it is lost in avant-garde experiments. For me it was always important: I had something to hold on to. And that is increasingly losing itself. It's precisely this residual logic that I miss in so many experimental films.

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How on earth did it come to this? In 1979, the long-divided left in Iran rallied behind the ‘revolutionary’ Khomeini, who was able to establish a theocracy right before their eyes. It is hardly surprising that the left, the so-called ‘79ers’, do not command much respect in Iran. Instead, there is a movement that longs for the days before 1979. A movement outside Iran, led by the Shah’s son. Within the country itself, a heavily armed minority has the population under its thumb, slaughtering and robbing them. The people are so desperate that they pin their hopes on a war to bring them relief. Asghar Farhadi has made his films within this system. He has won numerous film awards. His debut, Dancing In The Dust, was acclaimed by critics worldwide. Farhadi’s films are not explicitly political. They are moral. Dancing In The Dust is about marriage and money. Nazar (Yousef Khodaparast) loves his wife Reyhane (Baran Kosari), but there are salacious rumours about Reyhane’s mother, which is why Nazar is preparing for a divorce. Nobody wants this divorce. Reyhane’s life will be ruined. But Nazar has no money and is in arrears on a loan. He flees, hiding in the car of a grumpy snake charmer. Two men with very different temperaments: Nazar, who talks non-stop, and the snake charmer, who never speaks, in a hostile environment. If one interprets the artwork from a very broad perspective, might one still draw conclusions about life in Iran? In Iran, where tens of thousands of people are simply being slaughtered in a matter of days?

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There are plenty of dramatic scenes in John Hughes’ *Pretty in Pink*, but my favourite ones are the quiet moments where a boy plucks up all his courage to speak to the girl. Who still remembers when your dreams were so much bigger than your self-confidence? Pretty in Pink is all about this dilemma of teenage life. It’s about those moments when you think, ‘That’s exactly how it was when I was 16.’ Molly Ringwald plays Andie Walsh, a poor girl from a humble background. She lives with her unemployed father (Harry Dean Stanton), whose first words in the morning are “Where am I?” Andie works in a record shop. Her high school is full of rich snobs, and Andie has fallen for one of the rich boys – Blane (Andrew McCarthy). His best friend is called Duckie (Jon Cryer). A prime example of the sort of lad who thinks he can win a girl’s heart by acting silly. Or Iona (Annie Potts), who sports one radical hairstyle after another. The plot is an old one: the poor girl falls in love with the rich boy. She doesn’t want him to find out what a shabby house she lives in. In the end, she’s supposed to find her true love... Who knows, perhaps John Hughes could have given this old story a bit of a modern twist? After all, it’s full of universal truths that apply to every teenager. James Spader is brilliant as the arrogant snob who claims money means nothing to him (would he otherwise treat his parents’ house like that?). Molly Ringwald is THE face of the 80s; she conveys vulnerability and depth. She never comes across as cheesy or affected. Her conversations with Duckie – played by Jon Cryer – reveal one profound truth after another. That is probably exactly why some stories never fade away. We’re all familiar with the clichés; we already know what’s going to happen, and yet we feel that immense satisfaction when the girl and the boy – who are meant for each other – finally end up together.

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Has the century of the selfish mind already begun? Man has always been a being who has tirelessly sought a reality beyond himself. We have sent people to the moon and flown all manner of objects to other planets. Our signals are reaching out into the universe (and will probably only be received once we have become extinct). And we store and transmit digital data. All of this reflects our urgent need to communicate beyond our own minds....