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.