FREE ON YOUTUBE I Shot Andy Warhol

FREE ON YOUTUBE When Andy Warhol pondered that everyone would be famous for 15 minutes, he certainly didn't think that Valerie Solanas would gain fame for 15 minutes by shooting at him. It was June 3, 1968. Solanas went armed in Warhol's factory and fired on the most famous American artist. One of Warhol's assistants asks if she had met anyone. Not just "someone"! Later, the police ask Solanas why she did it. She had her reasons, Solanas replies. Director Mary Harron and actress Lili Taylor now deliver the portrait of a possibly schizophrenic woman. From her bad childhood to the moment of justification before the police. So her plot seems to be a logical consequence of what happened before. Solanas was abused as a child and worked as a prostitute to finance her college. Nevertheless, she develops a kind of weird humor. She writes a column about women reproducing without men. And plays. She is gifted. Then she takes her boyfriend, the transsexual Candy Darling (Stephen Dorff), to Warhol's Factory. She likes Warhol (Jared Harris) and plays in his films. She even writes a play for Warhol, but it's behind a couch in the Factory. Solanas reacts offended and angry. Turning point. Solanas dives into her own world. Girlfriends like Stevie (Martha Plimpton) try to help her - but in vain. The paradox: Solanas doesn't seem unappealing, sometimes even moving! Warhol, on the other hand, is a passive man. A factotum. Art and sexuality - he produces all this through images, without human contact. Quite differently Solanas, who engages her very own life LEBT! But everywhere feminists seem to steal their ideas! When she is "excommunicated" in Warhol's factory, she returns armed. The great Lili Taylor plays Solanas. Crazy, but not irrational. Taylor is the swarm of our colleague Marie from the video store. Marie is obsessed with Taylor. She knows all the movies! And rightly so! Lili Taylor is the indie icon of the 90s! Her role selection proves how intelligent and stylish Taylor is. and versatile! Probably some of you won't like I Shot Andy Warhol. True to the motto; the story of a hysterical lunatic. I would see the movie that way: Even the most absurd behavior ultimately serves only one strategy: to find love and recognition. This is exactly what Solanas is looking for.

FREE ON YOUTUBE Tarkovsky - The Sacrifice

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) 1986 Tarkovsky moved to Sweden, filmed on the island where Ingmar-Bergman lived and worked. The camera was held by Sven Nykvist - Ingmar-Bergman's cameraman. That's why "The Sacrifice" actually looks "bergmanesk" and that's the way it should be! Just like his older role model, Tarkovsky deals with the general moral questions of being human. A Soviet filmmaker who dares to film spiritually (the opposite of the deliberate realism of the USSR). If you read more about it, you will find out that Tarkovsky was already terminally ill when he made "The Sacrifice". For his last film he didn't choose a small theme, but the story of a man who watches and dreams that the bombers are on their way to starting the Third World War. He offers his own life as a victim; let only his family be spared. Tarkovsky has radically abandoned any attempt to entertain us. He only says what he wants. In the style he wants. In long shots and with a great distance between the camera and the objects. We step back from what happened, have time to process it. To let it work on us. There is space between the events. And suddenly we begin to ask ourselves whether we would act in the same way as the man? On his birthday he plants a tree. When he is no longer, the tree will still be. Friends and family come for his birthday. And the postman who is something like the mystic on the island. He brings the news of the inner reality. And then the news arrives that the war has broken out... I think only those who have a lot of imagination will borrow "The Sacrifice" from us on DVD, watch it and maybe like it. The others don't. Everything depends on the question whether you can feel into this man. Are you even ready for it? But a sacrifice is always willingly offered, isn't it?

FREE ON YOUTUBE Kenji Mizoguchi - Sansho Dayu

FREE ON YOUTUBE  Sansho the Bailiff is a movie named after the villain. Not after one of the characters we like and identify with. Sansho is completely heartless. Not a human being, a creature! The story, set in the feudal Middle Ages (and strongly reminiscent of the terrible deeds of the Japanese during the Second World War), introduces Tamaki, the wife of the friendly district administrator. With their son they had to flee from Sansho. At night they take a rest, build a shelter under the huge treetops and ignite a celebration. In the distance wolves howl. It may be a moment of brief fleeting happiness. Then she finds the old priestess, offers them shelter in her house. She suggests that they go by boat. In the morning they leave - but a dark figure flies after them. A trap. They are caught by human traffickers. The women are to be sold as prostitutes, the children as slaves for Sansho... Mizoguchi is a true director of women for me. Throughout his career he was obsessed with women's rights. He is one of the greatest Japanese directors from the classical phase. His camera looks as if it is flying gently. Sometimes we watch the action, sometimes we are forced to look away. Just when the camera "looks away". For example, if something is too painful or too personal, then the camera simply decides to look away. Sansho is a story that has gripped me with full force! We are given time to fully recognize Sanshos atrocities while a loving family is destroyed for no good reason. There are people who are born without mercy and do evil with great joy. Sansho is such a person who feels joy in his sadistic deeds. Sansho is a film that really destroyed me. And one of the best I've ever seen! Have I ever seen anything better? Nevertheless, I didn't dare to see Sansho again. I just didn't want to take that ordeal upon myself again.

fREE ON YOUTUBE Carl Theodor Dreyer - Day Of Wrath

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) Martyrdom and suffering are the themes of Carl Theodor Dreyer. Thus he created some of the most poetic and terrible horror films of all time. Day Of Wrath is about the witch hunt in the 17th century. Anne (Lisbeth Movin), the priest's wife, is accused of hiding a witch. And was Anne's mother already a witch? And what connection does that have with her own marriage? Anne falls in love with her stepson and confesses it to the priest. He suffers a shock and dies. Now Anne herself is accused of witchcraft... Any time that takes the work of God as justification for murder is a terrible time. In the name of God, women are tortured and burned. Not by hysterics. By people who are sure to serve the righteousness of God. They are Protestant people with callous faces. But behind them lies infinite suffering. Day Of Wrath does not need to argue for or against witchcraft. Instead he leads us into the great darkness of the human soul.

FREE ON YOUTUBE Dziga Vertov - Man With A Movie Camera

It is easy to imagine how much the audience must have been overwhelmed in 1929, the year Vertov's Man With A Movie Camera entered the cinema. During the silent era, audiences were used to shots lasting ten seconds or longer. Here it was two seconds - a speed that modern blockbusters expect us to achieve. This is precisely the great influence that Vertov exerted! Dziga Vertov felt confined by the tradition of theatre. For him, cinema until then was only a continuation of the stage, which could not satisfy him. It was time for a new style! A film that progressed as fast as our brain in its associations! No dialogue, no subtitles, no scenario! A series of images in rapid succession, that's The Man With A Movie Camera! Vertov specifically followed his plan: he wanted to show 24 hours of the life of a Russian city. Moscow, Kiev and Odessa, three cities, filmed in four days - combined into one. A record-breaking sum of individual shots was produced, to be edited by his brother, Mikhail Kaufman (who allegedly refused to work with Vertov again). Vertov, who began his career during the Russian Revolution when the joy of experimenting in Russian cinema reached its peak, described himself as a radical artist. Surrealism and avant-garde were "State Of The Art" - Vertov's puzzle still looks as fresh today as it did in the 1920s! And when was such an attempt ever made again? Machines, workers, streets, beaches, individual faces (...) Everyone is allowed to interpret into Vertov's film what he likes most. But what is the work really about? About how a film is made. There is only one character who leads through the film (but doesn't represent a "character"): The Man With The Movie Camera. The camera on his shoulders, he marches through a coal mine or is on a moving truck. Later, a train chases us towards - drives "into the camera". All this was cut with the "Intercut" method. Sometimes the action stops, the "action" is frozen. If there is no continuity, then there is speed. Almost as if the film had cut itself. A style exercise in terms of tempo! In Hollywood the rule of invisible editing still prevails today. Vertov destroys this idea! The film is above all about itself. Big-city documentaries, for example about Berlin, already existed before. Vertov, however, does not show ONE city. He doesn't give a name either. Thus his focus is much wider. An experiment that is unthinkable without music. The best known is the US version by Michael Nyman, which underlines the restlessness of Vertov's film (we offer this version on DVD at the Filmkunstbar Fitzcarraldo - nicely restored). Much of what you think you can attribute to later cinema in terms of experiments - much, much can be discovered in The Man With The Movie Camera - and enjoyed!

FREE ON YOUTUBE Jean-Luc Godard - Weeke End

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) In order to stream Week End freely on YouTube, enter the year 1967 behind the title. Then it goes. First Jean-Luc Godard had shifted the rules of cinema forever, then in 1967 he concentrated on their core with Weekend. Weekend is pure cinema! One of his best and most imaginative films! Even today, Weekend is likely to repel and alienate its audience - but that's the way it is with truly revolutionary films. Weekend is about violence and hatred, about the end of any ideology and the beginning of disaster. Weekend is hell! Civilization has failed, it is being destroyed. Normally sick films, which deal with the end of all this, because their subject is too broad. But Godard has staged Weekend very effectively! He simply avoids showing us "real" war. Instead, he shows us the attitude of suffering and destruction. Everything begins with "motorized" people (doesn't that symbolize the animal in us?). A motorized couple sets off for the weekend and their trip is supposed to find a miserable end to the "consumer society" (Godard would have put it that way). Everything stands still in an eternally long traffic jam. The "motorized" leave their car and begin an odyssey. They experience the end. Godard's bitter gaze does not allow us any liberal solutions. Bizarre things happen, so the political speech. Should this nonsense be taken seriously? Or: Why is the politician so serious when everything is just a joke? Is that not the essence of politics? And isn't that the essence of "hip" radicalism? The end, an allegory. Everyone eats everyone. At the latest here we may feel lost in Godard's universe. Everything makes sense, but nothing fits together anymore. Do the protagonists talk to each other or do they talk to us? What is going on at all? Anyway, it is just as crappy as life.

FREE ON YOUTUBE Ingmar Bergman - Winter Light

FREE ON YOUTUBE (DU FINDEST DEN GANZEN FILM FREI AUF YOUTUBE) Ingmar Bergman died when the Filmkunstbar Fitzcarraldo was still in Revaler Strasse. Until then only few asked for his movies - that changed abruptly until today. If I think of his death, I always associate him with Nattvardsgästerna from his "Silence Of god" trilogy. Why? Nattvardsgästerna is about a priest who is not able to take away the fear of the nuclear holocaust from a parishioner. He rejects a woman who could comfort him. I can still see the pictures today. How Bergman and his cameraman Sven Nykvest capture the sunlight in a village church on its way through the room. Nattvardsgästerna - a film about light. I have now seen the work again and was overwhelmed by its power, its desolation! So much more complex than I remembered! This is not only about the silence of God, but of one man: Pastor Tomas Ericsson (Gunnar Bjornstrand). He speaks to us, but is unable to give himself or others courage. He appears next to us: Jonas (Max Von Sydow), obsessed with evil in the world and Marta (Ingrid Thulin), a teacher who sincerely loves the pastor. The only thanks she receives is cold. Two people who hurt each other deeply. It is also a film about trust. Algot (Allan Edwall, disfigured by an accident, seems to be the only one who can actually win something for his life from the Word of God. This is presented visually with rigorous simplicity. Nykvest does not use a pan of the camera to achieve an effect. He remains the observer. He shows. Pastor Tomas never smiles. He seems ill, even more so: cold and unable to empathize. Jona's fears that the world would end as a result of the nuclear final blow are met by Tomas in empty phrases: We must trust in God. As he says this, we notice how his hands tremble. But there is much more than just the silence of God. Tomas is silent to Marta. Those who hope for help receive only rejection and silence. I wondered how much Bergman is in the figure of the pastor? Bergman, who himself was married several times, but found no happiness. Is this the outcry of an artist whose life seemed just as cold? Who couldn't give? We will probably never find out how autobiographical Nattvardsgästerna really is. In the heart it is a film about a man who thinks he is God and fails.