She will be able to testify from her own experience to what happened in the city. After a moment of waiting — for the sign of the bells — as a retarding moment, by showing Tyrion staring at the bell tower, Daenerys in the air on her dragon gazing down into the streets, Cersei looking at the city until it actually sounds and everything seems fixed. The montage shows Tyrion looking at Daenerys, who in turn is looking at the tower in which Cersei is, until her face is grimacing and she flies away, watching Tyrion again, then we see Daenerys flying on her dragon towards the castle, Cersei observing her doing, looking at the city from above.
People flee, the dragon spits fire into the streets. The armies still face each other in the cease-fire, but then the Grey Worm Jacob Anderson loyal to his queen throws his spear against the unarmed commander of the army of Kingslanding and another massacre breaks out 43 min. Grey Worm has nothing more to fight and live for than his loyalty to Daenerys, so he is situated to double the Daenerys character and extend her fight into the streets of the city as well. They run to save themselves from the dragon fire, which makes Daenerys spit blindly on their enemies as well as their friends.
This chain of events contains the moment of anagnorisis and the peripeteia associated with it. With this end, our expectation, that of the audience, is directed towards the central conflict, for the last episode will be about survival and power between these two figures. With the decision then taken, the central conflict will have to be resolved. All accompanying, still living ensemble members, who are predominantly from the Starks family, will be grouped around it.
Of course, this solution is linked to that for Winterfell, the place where the series started out from. From a dramaturgical point of view, the action should be concluded regarding the central conflict, the question of the Grail and the rescue of the country, as well as the Stark family and Winterfell, in order to possibly be rounded off with a finale.
Kitsch and death — the reappearance of Nazism. Munich: Hanser. Stutterheim, Kerstin. For the basic dramaturgical concepts and their explanation see: Stutterheim. Handbook of Applied Dramaturgy. Peter Lang Publishing, Now that the series is coming to an end, there are some comments of disappointment from fans and critics alike. The question of whether the series expresses feminist aspects or not, is a much-discussed one, as it has been in recent years already. In my opinion, it did not do so, both dramaturgically and aesthetically, even though one or other of the episodes may have played with it over and over again, and may have served such hope.
In order not to be misunderstood, other female figures have moments of power and strength within the events depicted and on vertical episodic plot sections in the explicit narrative, out of revenge or delusion, but not on the overall plot. In this respect, the figure of Arya is the only one, because she is established as the dramaturgical counterpart to Jon, since the second episode in old theatre tradition welded to him.
Stutterheim , In the dramaturgy, in order to answer a corresponding question, one looks not only at what the respective figure is allowed to do at the moment, how powerful they might appear; but also at the influence that the authors and the director concede on the overall structure and development of the implicit theme. She got introduced into the overall plot via her brother, who instrumentalised her as a commodity.
Her appearance is reminiscent of a Barbie doll and thus implicitly appeals to a broad group of the audience who may have played with her in childhood or have always wished to do so. On the other hand, it also reminds a little of Marilyn Monroe. Of course, the figure is blond and blue-eyed.
As at the beginning of the story, the figure of Danaerys get guided through the entire story by male companions and advisors. The only exception is Missandei Nathalie Emmanuel , who also had to be brought out of the action in episode 8. The fact that this happens brutally may not only serve the moment in which the increasing madness of the figure of Cersei Lena Headey has to be shown. This execution also reflects the brutality of the scenes in the context of which the character of Missandei got introduced.
Also, Missandei is also classified as a sinful woman, in the sense of the moral concept that defines the series. The Daenerys figure was built up over the first half as a possible positive figure and future queen, but this turns in episode 4. From this episode on she is increasingly portrayed as unpredictable, domineering and cruel. This got prepared with the event in the tower of Undead and the encounter with the sorcerer 2. Since this encounter with dark magic, the character has become more and more a cruel and possessed egomaniac who would do anything to become queen without restriction.
Underlining their power and position, they are carried away to use cruel violence and to declare it justice. This figure only makes good and positive decisions if one of her advisors strongly recommends this to her. The figure presents a supposed power that may be due to her qua birth, but she got guided by an intelligently staggered group of figures, which apparently only accompany her.
Dramaturgically seen, these advisors let the figure act as a representative of male world view. Thus, concerning the figure of Daenerys, no independence in the sense of any current or theory of feminism is established. One of the favourite figures for a large part of the female audience. Gelfert This Sansa learns with ease everything a woman should know, sew and be submissive, behave, walk upright, smile.
She got harmed, and the figure represents all the more femininity in the sense of American conservative Christian moral. The ultimate goal is the continued existence and independence of the family. Winterfell must continue to exist and preserve its independence. Sansa represents the North with its moral rules and traditions cf. Stutterheim That is what the Sansa character stands for. Also, she gets shown as someone who takes this situation for granted. This figure was designed from the beginning as immoral and selfish.
Their only acceptable side, as Tyrion Peter Dinklage expresses in 8. This good nature, however, was also shown as overshadowed by her character and so she had to lose them, the children of sin. First to evil, then to an act of revenge, then to religious fanaticism. This character is one of the variable characters with which the authors play with us.
She is a classic secondary character who serves to better understand the character s of the main character s , their motivation and actions. In particular, the figure serves to accompany Jaime and Sansa. Moreover, implicitly, it offers an identification for those in the female audience who cannot compare themselves with the beautiful girls and women figures, who are also too tall or find rather sporty or not pretty.
The fact that it get ultimately shown in detail as a relationship with Jaime Nikolaj Coster-Waldau has a dual function here. On the one hand, it is used to show the figure of Jaime after the court as a man still capable of love. Then one had to sort Brienne into the camp of the female figures according to the overall layout in order to restore order. For this, she had to love, become jealous and even stand in the snow crying, which discriminates against the figure twice over, as I here and now boldly assume.
For on the one hand, as mentioned in various critiques, as a crying abandoned woman, this Brienne is the opposite of the intrepid and capable warrior. Then, this is my hypothesis, she misjudges in her jealousy the actual reason, the true character of Jaime. The task of this character is to protect the subjects from insane actions. But on the other hand, this chracter is one of those the authors change and use as varaible, as one of the few who are arranged to install surprising and less logical elements in the narrative. What remains is ARYA , the figure who is the only one allowed to unfold and live independently.
Stokowski This character has worked, learned and fought to lead an independent and as far as possible self-determined life. As mentioned above, Arya mirrors Jon, and therefore it is a dramatic necessity to keep this in dramaturgical balance to the male main character. In this respect, it is consistent and little surprising that at the end of the series even more women from the ensemble are left behind, murdered, referred to the back seats.
Fiedler, Leslie A. Gelfert, Hans-Dieter. Typically American: How Americans became what they are. Munich: Beck. Stokowski, Margarete. The Long Night. In this episode, the long-awaited battle between the people in the north and the world of Satan with his hosts was fought. This war, which is about the spiritual level, was portrayed as the bare horror for the characters involved. This was the battle of gods and faith and, accordingly, of survival and religion.
A battle of daughters and sons. Attention, even today it is not possible without spoiler.
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And, also for this short, weekly contribution, I must limit myself to selected aspects that are above all dramaturgically of interest and have not already been broadly discussed in reviews. Most of the still living central characters of the series have survived this slaughter. Dramaturgically these are still needed for the last worldly struggles, the dissolution of sub-plots and the central conflict over total power, the throne.
The episode begins in the night, before dawn, in anticipation of the attack, final preparations are made. Tyrion Peter Dinklage , on the other hand, grabs a bag of wine before retreating into the crypt as ordered by Daenerys Emilia Calrke. The following shots show men and women waiting in tension and moving into position. The music and an associative montage of images combine these observations into a suspenseful opening sequence that familiarises us with the space in which the action will take place, according to an exposition.
Even though Winterfell is generally familiar to the audience, this is about the battle formation that implements the plan from the central scene of the last episode and gives the space new dimensions and functions. Woven in are details such as the repeated reference to the cold, weapons get provided, cries of dragons heard. Excitement also arises from the sound design, which underlines the silence and does not artificially incorporate additional emotional softeners. The surprising element to be expected in this episode was the return of Melisandre Carice van Houten at the end of the exposition, with which the vertical dramaturgy of this episode is given an additional individual arc.
The battle is central. Here again, the narrative of a personal fate is connected with the collective strand, as it is typical for an open dramaturgy. Klotz Of course, the figure of Melisandre must play a role in the decisive spiritual battle, since in the sense of the action it is also about the establishment of the new religion, the recognition of the God of Fire in this case.
Through her and her work, her God helped to win this battle and also to destroy the Night King. The fire destroyed the ice. The figure of Melisandre, in the situation she first met Arya Maisie Williams , predicted that she would bring death to people of different eye colours. Melisandre lists the colours, the last of the colours she mentions is blue eyes.
The end of this scene is composed in such a way that Arya walks past the camera, followed by a cut to the shot of the clearing where Theon stares into the dark and awaits the attack. The image composition and editing create a connection between these two situations. Will she be queen? I assume that, according to the introduction of the figure about her half- brother, she finally hands over the plot and the power to her next male relative, Aegon Jon. As already mentioned in the last text, it is evident that references to the legend of the Grail are adapted in the design.
He is rather the spiritual young man associated with the spiritual, higher power. This land is sick and sunk in war and misery because the king is wounded and no longer able to lead the country. In order to save the country, Parzival must find the Grail together with a very worldly knight trained in the martial arts, and only if all three together make it to the throne can the land be healed and peace restored.
Now Jon and Arya were already welded together in the second episode with a means proven in the theatre as a pair of figures, in which Jon had a valuable object made, which he presented to Arya, and they embraced on it. Gift and body contact weld figures together traditionally. In this way, these figures could also lead alternative plot strands over the course of the series, which complemented each other and related to each other. According to the object, Arya became a fighter. She has learned to handle this weapon and various others.
So it had to be Arya who overcame the Night King. The audience got already prepared for the probability of this situation with the one in which Lyanna Mormont Bella Ramsey stabbed the undead giant. She hung in a similar stranglehold in front of him, like Arya in the hand of Night King, and stabbed the giant with a dagger. Another consideration that seems worth considering to me is that Tyrion is sent to the crypt and has to stay there. Neither about the figures of the Daenerys nor of Sansa Sophie Turner is he believed to have an active part or an intelligent decision in this situation.
On the contrary, he is asked to face the truth that he is useless. Until now, the character had been guided in such a way that she acted as a kind of film clarifier and therefore always either had an overview and commented on developments or influenced decisions in her progress. This was still the case in the last episode, where the character was used, among other things, to convince Jaime and the audience of the positive aspects of the Daenerys and to confirm them as the future queen.
Perhaps this constellation only served to solve the conflict between Sansa and Tyrion through this created constellation and also to close this secondary strand. Dramaturgy is not a format template but allows a play with models, rules and traditions, which is why a dramaturgical analysis of such an intricate work has its limits in forecasting. Mainly when, as in this series, very sophisticated operations are carried out with constant figures and variable figures. The next episode will probably first bring a retarding moment before the battle for worldly power will be waged to complete the arc of Cersei intrigue, the last parent-generation figure in the game with ambitions for the throne.
The characters of Cersei green eyes and Daenerys blue eyes resemble each other in the unconditional, autocratic and fanatical will to absolute power. Klotz, Volker. Munich: C. The second episode of the eighth season continues, on the one hand, the linking of arcs to situations from the beginning of the series as well as to relevant subplots, in which the authors let further characters arrive in Winterfell or let actions take place between those who are already there.
In this sequence, several conflicts of previous strands of action are resolved to be able to reposition figures. To be able to continue the principle of ensemble dramaturgy with a central character, central elements of the central conflict are remembered in this series, realigned, and organised as tensions between the figures of this season. On the other hand, this episode intensifies the tension in the sense of waiting for the central battle between the living, the human world, and the embodied death and its hosts. This is called as a theme in variants again and again — in the dialogue between Arya Maisie Williams and Gendry Joe Dempsey for example.
The theme of the confrontation with death and the possible total downfall and absolute oblivion appears again and again in this current episode. Here the central conflict of the Christian conception of the world is reflected as the elementary struggle between God and Satan, which determines this series in its moral code and the motivation of the characters. Good versus evil. For the family would no longer exist after the victory of evil. As already emphasised in the last blog text, in these weekly comments I can only deal with selected situations, and only analyse them to a certain extent so as not to go beyond the scope.
And, attention, unfortunately, from here it does not go without more detailed descriptions, spoiler warning for those who have not yet seen the episode. First, however, embedding the scene between Arya and Gendry, Jaime Nikolaj Coster-Waldau had to be repositioned in this episode because he is one of the central and dramaturgically relevant flexible characters cf. It was not only introduced as a second figure at the complementary level of Kings Landing, but also as relevant to the conflict at this level of action.
Actions of this figure are part of the conflict between the Lannisters and Starks, but especially for the central conflict, the question of the right to the throne. The character of Jaime Lannister keeps alive the basic situation of the problems surrounding the Targaryen family. And so implicitly refers to the Grail legend in which the land is threatened until the king is healed or a healed king reigns over it.
Jaime embodies this conflict, is a living memory of it because he prevented a mass murder by killing the last Targaryen king and could deceive the successor, who was a morally ill, sinful king. From this constellation, he can be managed as a variable character and not assigned to a family line. He is the protector of the rightful king, he fights for the living, as expressed explicitly in his dialogue, and in the sense of dramaturgy, he is a character who, in the tradition of tragedy, stands for the survival of the community. The scenes around Jaime Lannister represent the day of the last court for Jaime.
He must answer for his deeds, his sins are balanced against his good deeds. Since, as Jon Kit Harrington sums it up in one sentence, every man is needed, and especially Jaime, who for dramaturgical reasons cannot be removed from the narrative right now, this character has to face his sins and survive this judgment. As already mentioned above and explained in more detail in earlier texts Stutterheim , conservatively Christian world views and traditions are decisive for the leading strand and its development. The character of Bran gives Jaime absolution because he acted for his family at that time, which is understandable in the context of the moral code that the roles of the series follow; and now it is ultimately about higher things than the earthly.
With Brienne, Jaime is also brought into a balanced relationship, which is carried over several situations and results in Jaime knighting her. It also seems interesting to me how the constellation of Sansa-Daenerys is further developed in this episode. As a reminder, the most urgent wish of both women since the beginning of the series has been to be Queen in Kingslanding. This is implicitly conceived as a conflict between the morally good Stark family in the north, living in harmony with nature, and the immoral and therefore insane Targeryen family from the south.
To prepare for this situation, Winterfell Tyrion Peter Dinklage and Jaime talk about Daenerys and Cersei Lena Headley in the inner courtyard, an analogy is also made here and above all the third woman, whose aim in life is also the throne, is remembered. As so often in the course of the series, Daenerys is advised by one of her male advisors to do something relevant to the achievement of her goal, but which would never have occurred to the character herself.
Almost all positive decisions made by this character in the course of the action have been initiated, advised, or prepared by male companions. Before Daenerys can respond, there is a reinforcement for the Sansas cause and its emotional power: Theon Alfie Allen arrives. Since the beginning of the series, these two figures have been dramaturgically linked to each other, as have those of Arya and Jon or Arya and Gendry. Central to the further course of the explicit action is the scene of planning the impending confrontation in the middle of the running time of the episode.
Since a time frame can now be given by the arrived fighters, one must make preparations for the forthcoming all-decisive fight. This makes it possible to unite all prominent figures in one room and to move Jon back into the centre of the action. He, as the Parzival of the narrative, is the one who can heal the country, end the threat. A fight for that is inevitable.
That this must be wisely prepared since victory cannot be achieved by force alone, is evident on the explicit level of narrative, and implicitly a clash of the spiritual divine with the representation of absolute evil, Satan, is equally inevitable. Here we are also working on the figure gang, which has already been led over the whole season. Of course, the figure of Theon is the most suitable to be placed at his side. Explicitly for the reason that the character himself expresses: He conquered Winterfell when the child was Bran Burgherr, so now he has to defend her next to him. Like Bran, Theon has been transformed into a different character through the encounter with the evil, according to the standards that apply to the cosmos of the series, a better character.
Arya and Gendry have been emotionally connected since episode 10 of the first season. The fact that the two become a couple in this episode is explicitly logical concerning the situation in this previous plot. This is already apparent in the events evolving in episode 8. Implicitly this is also logical because in their relationship an arc is drawn to the friendship between the characters Robert Baratheon Mark Addy and Ned Stark Sean Bean.
Arya and Gendry take this relationship to a new level. So there is still another, an alternative future royal couple for the build-up of tension: Gendry and Arya. As an echo to the scene in 8. This circumstance not only excludes a love relationship, the reason why the Daenerys figure was able to develop a gentle and peaceful side, as she expressed earlier in the conversation with Sansa. Moreover, if Jon is now Aegon Targeryen, he is the rightful male heir of the family throne and stands before her in the line of aspirants.
This calls into question the entire previous striving and doing of the figure, as well as its position. This situation enables a further change in the action, with which a new conflict is built into another internal action in a specific constellation of characters. An excellent cliff hanger. This replacement does not come as a surprise, as it has already been prepared for a long time.
Dramaturgically, this can first be deduced from the sequence and form of the introduction of the figures. The figure of the Daenerys has taken over the claim to the throne from her brother and now — in the sense of how the series is arranged — gives it back to her next male relative in a dramaturgically logical manner shortly before the end of the plot.
And, in the course of the plot, it was not for nothing that Jon was familiarised in time with the dragons, which he can now take over from Daenerys, and with them determine the final battle. The figure of the Daenerys seems to me to be a transitional figure who enriches the plot between the two male heirs to the throne and gives it a necessary facet, but possibly according to the dramaturgical balance, has to give up her claim to the throne at the end to the central male figure. The Night King was already ready in the last shot to advance the plot in the next episode.
Arendt, Hannah. Geschlossene und offene Form im Drama Handbuch angewandter Dramaturgie. Frankfurt am Main u. The eighth and final season of Game of Thrones has begun. As a reminder: Dramaturgically speaking, this series is rather a long epic feature film and follows the corresponding rules.
This structural structure is complemented by a historical drama in the tradition of Shakespeare. With this eighth season the fifth act begins. Accordingly, the art of the first episode of this last season is not only to recall important aspects of the previous action after the long production and waiting period, but also to organize the necessary explicit action for the decisive fifth act.
References to previous events must be included, especially to those of the first act, in this case the first and second season, which corresponds to the dramaturgical requirements of a last act of a feature film. This referential level is already established in the first scene when we observe a boy Felix Jamieson walking through the crowd to climb a tree to better observe the approaching troops.
This scene reflects on the one hand the scene from the first season, in which Bran spotted the approaching caravan of King Robert from the lookout at Winterfell Castle. Part of the caravan now riding in are Jon Snow Kit Harington and at his side Daenerys Targaryen Emilia Clarke , but also some of the central figures from the different action levels of the previous seasons. Shortly thereafter, a boy of similar age — Lord Umber Harry Grasby — appears during the assembly in the Throne Room, which deals with the preparations for the presumably decisive Battle of Winterfell and the Seven Kingdoms.
Also in this situation events of past seasons are called and at the same time the meaning of the forthcoming battle is underlined. Sansa Sophie Turner responds to this demand, underlining her position as Lady von Winterfell. At the same time a logical and probable situation has been created in which the character Jon once again combines a past decision with the expected dramatic climax and thus creates an elegant dramaturgical arc. In the final scene, the figure of the young Lord Umber is used again to recall one of the very first scenes in the series — the gruesome arrangement on the clearing and Umber recalls the image of the girl nailed to the tree.
The art of the dramatic design of the fifth, final act consists, on the one hand, in leading the action to its dramatic and tense climax and its dissolution, for which references and arcs or spies, depending on which of these concepts seems more understandable to whom. What is meant is that situations, places, events from the exposition are revisited and recalled in the development of the last act, and an echo is playfully received or answered.
This, however, is logically linked into the first mentioned, central level and gives this abstract collective level the concrete, exemplary individual fate. Now we viewers have known the answer to the personal question for some time. The tension is to observe the character Jon, who knows or suspects nothing of his origin, but for whom this knowledge would influence the decisions he has to make. In this episode, Jon Snow finally learns of his special origins and the completely different situation in which this character finds himself. He is, this is summarized by Sam Tarly John Bradley once again Aegon Targaryen, the son of Lyanna Stark Aisling Franciosi and Rhaegar Targaryen Wilf Scolding , and thus the rightful heir of the throne — in the logic of the rules that are set for this kingdom.
Of course this scene takes place in the crypt in Winterfell, between the graves of Lyanna and Ned Stark. The overall conflict was already embedded in this dialogue. The organization of the nude changes in this series also includes letting Cersei Lannister Lena Hadley start a new intrigue. The immanent conflict between Winterfell and Kings Landing, the south and the north, connects the two regions. This is relevant for the tension building of each series and serves as an additional explicit narrative level that enriches the overall plot. The figure of Cersei is designed in such a way that she still hopes to guarantee herself total power and the throne over the Seven Kingdoms.
Implicitly, this constellation also tells of the conflict between an egomaniacal and dictatorial character and a social character that is intent on the welfare of the community. Dramaturgically speaking, each of the intrigues that Cersei leads gives a season a substantial dramatic arc, with the help of which each season can be brought to a certain conclusion without having to adapt the overall plot too much to nude progressions or to a series dramaturgy. In this series, the principle of evil is passed on from one human character to the next as in a relay race.
When Euron Greyjoy, like Joffrey, now acts in close proximity to Cersei, evil has returned to her side. This constellation is very probably still relevant for the further course. Since the character of the Daenerys was threaded into the plot via her brother, it is quite possible that she will be unthreaded from the plot before her next male relative.
This character has been able to make enough enemies in the course of the plot to make such a procedure probable. However, this is only a dramaturgical option, not a prediction. The Hound and Arya face each other as well as Jamie and Bran. There are still conflicts to be resolved between these characters. Once again, a SciFi movie — or rather writer-director Ryan Coogler and his team — shows that the world could be better than it is today, and at the same time they do their part. This character is very skilfully led by a group of women, without whom he would not have survived nor never made it to the top of power.
In this narrative, the women of clever military men, spies, advisors as figures in the ensemble are of decisive importance for action, most of all the character of his little sister going with the name Shuri Letitia Wright. This character is the scientific superbrain, a Q  of the future. Yes, all this is already laid out in the comics, but nevertheless, it is a transformation into a cinema film, to which my attention is directed here. Ryan Coogler and his team will present traditional patterns of filmic narration in the Hollywood-influenced space of experience with a postmodern wink of the eye.
Epic and classical American dramaturgy are interwoven here, the basic patterns of myth-based tragedy and Christian worldviews serve as a basic structure that conveys a sense of familiarity to the audience. In the centre there is a male hero who is responsible for the welfare of the country and the world. Here, he is following advice by his female company. Then it is General Okoye Danai Gurira and last but not least his little sister who secures his survival more than once.
Morgan in a direct battle. The young king thus represents a postmodern central figure by embodying the typical male hero, who also is a variant of the split hero by being inseparable from the character of the sister to get through the action. The little sister and the king are an inseparable unit, neither could develop their abilities without the other. They form a variant of a split main character. In this film, as already mentioned, the female characters are those who dramaturgically advance the plot and, to put it another way, are equipped with agency.
Modern Film Dramaturgy. Mit guten Schauspielern. Januar Allgemein Kommentar. This is also true if no dramaturg is involved. These dramaturgical models emerged from three categories of drama, which Aristotle only referred to in his Poetics, [iii] but did not discuss. One example using traditions of modern dramaturgy [iv] is:.
The main character with whom the movie starts, going by the name Sanming Han Sanming , travels from another province, Shanxi, to the city Fengjie. He is searching for his daughter who disappeared with his wife, who left him dreaming of a better life in that city. In the middle part a woman, Shen Hong Zhao Tao from the very same province, is searching for her husband, who went to Fengjie for a job.
The switched protagonist in the middle of the film mirrors the character of the first chapter from a different perspective. In the third part, the character Sanming with whom the movie began, has learned from both episodes. The male character is a mineworker, representing the traditional China, and the female character the modern. He hopes to reunify his family. She comes to ask her husband for a divorce. Both characters and their motifs represent the impact which the politic can have on the life of common people. The mineworker searching for his daughter finds the address as situated in the part already flooded for the first level of the dam.
To stay for the search, he joins a group of men from different regions who came to the city for work. They introduce their home regions to one another by showing the pictures on the back of different banknotes. In contrast, the female character leading the middle part is shown as more distanced and observing. Her search starts from a privileged situation by having a common friend who supports her search. The space, within which the action takes place is well defined and part of the implicit dramaturgy. On the other hand, time is not shown as being a definite progress in any of these episodes.
There are days and nights but not a naturalistic protocol of the time these characters are spending in the city, or of how long it actually takes to find someone — or oneself. The impetus to make this film was for Zhangke the dam project and its foreseeable result. The dam is going to be built in a landscape that became iconic for the Tang Dynasty, the Golden Age of China. Their experiences and points of view give the opportunity to tell about the impact, which the contemporary political situation has on social life and the interaction of very many people.
In Still Life, the main characters encounter a wide range of people and situations. Writer-director Zhangke wanted to give an impression of the simultaneity of beauty and ugliness, compassion and cruelty by showing extended shots of the landscape, the city, faces, and some still lives of different kind.
In two situations people are dancing to music that is difficult to dance to. One of them is located on a roof terrace above one of the new bridges built for the time after the flooding. The other one happens after the wife and husband met each other again after been separated for two years. This situation is located at a provisory bank in front of a viewing spot simulating the new level of the river after the dam is finished.
They are also dancing to a kind of music, which is not providing a danceable rhythm. Zhangke also integrates fantastic moments in the realistic setting. From time to time a UFO appears, and a landmark building transforms into a rocket and flies off. These poetic interventions visualise how surreal life became as a result of the transformation process in China. Bordwell, David. The way Hollywood tells it: Story and style in modern movies. Berkeley [u. Dancyger, Ken, and Jeff Rush. Alternative scriptwriting : beyond the Hollywood formula. Fifth Edition. Lu, Sheldon.
Wie begegne ich ihrem Misstrauen, wie setze ich meine Bilder durch? Was sowohl die Wissenschaft wie die Sprache wie die Kunst betrifft. Dezember Allgemein Kommentar. After all anybody is as their land and air is. Anybody is as the sky as low or high, the air heavy or clear, anybody is as there is wind or no wind there. It is that which makes them and the arts as they make and the work they do and the way they eat and the way they drink and the way they learn and everything. Anything is not alike to any audience and yet it is.
That is what anyone is inclined to know that any audience is not alike or is and is mostly either one that is not alike or is. Oktober Allgemein Kommentar. Reder It is clear that there can be composition, performance analyses and even performance making, without the necessary involvement of the dramaturg. Some members of t h e warrior caste t h in k Delenn is [ Einige Mitgl ie der d er Kriegerkaste gl auben , dass Delenn [ Shakiri's fear and actions. Shakiris Angst und seine. The Religious. She plotted revenge and found help from an ambitious young. Sie sann auf Rache und fand Hilfe in einem ambitionierten jungen.
No, there's really just the one Minbari. Nein, es gibt bei den Minbari wirklich nur diese eine. Their equipment is not weighed down by religious frills, being made. The darkspawn poured into the Deep Roads like smoke, and t h e Warrior Caste s t ru ggled to hold them back. T h e warrior caste i s u nhappy about the religious caste building warships without telling them; believes the Rangers should be commanded by one of them, now that Sinclair has left; and is unhappy about non-Minbari [ Sie glauben, dass di e Ranger i hnen unterstehen sollten, jetzt wo Sinclair nicht mehr da ist.
What will the future. As Lochley mentioned to Garibaldi, Sheridan has had three wives Londo is still one up on him. Sheridans Ehefrauen spiegeln das. Emerging from provin ci a l warrior b a nd s, the aristocratic Sam ur a i caste o f t he Kamakura period [ He wanted to start a medical mission in which high-tech state-of-the-art medicine and technology could be.
Wir nahmen am Entwurf eines solchen Projekts teil und halfen auch bei der Planung und Beschaffung der praktischen Ergebnisse des Programms. The work of Mahatma Gandhi and his disciples - in Kerala. The section of the call dealing with racism targets measures aimed at I promoting the universal ratification of the UN International Convention on the Elimination of all forms of Racial Discrimination by II elaborating and implementing effective.
Welcomes the Joint Action Plan adopted at the sixth India-EU Summit, which includes discussions on human rights issues based on the commitment to work together to uphold human rights in a spirit of equality and mutual respect; expects that these discussions will include the rights of minorities; expects that, within this framework, both sides can also discuss the problematic social situation of the Dalits; calls on the Council and the.
Indian ultra-nationalist parties attack the Church, not because of alleged. Die ultra-nationalistischen Parteien Indiens attackieren die Kirche, nicht, weil sie. Please click on the reason for your vote: This is not a good example for the translation above. Filmauswahl: Stubborn Hope , Stephanie Vater und Mutter sind inzwischen gestorben. Bei ihm hatte Renate wohl gefunden, was sie suchte — auch sie brauchte diese Freiheit. Doch dann begann das Streiten. Heute finden wir die Freunde von damals einsam in ihrer jeweiligen kleinen Freiheit.
Der eine hat sich angepasst, der andere besteht konsequent auf seinen Idealen. Und eine wundersame Liebesgeschichte. She stays in India, marries him, has children with him and finally returns to Germany. Their adult son, commuting between India and Germany, traces this unusual relationship. His father and mother are dead, but their companions provide more than an outside view of marriage. Many who had looked for enlightenment gathered around Baba and completely accepted Renate who they called Parvati, the wife of divine Shiva according to the legend.
But then they started arguing. Today we find their former friends lonely in their respective little freedoms. One has conformed to the outside world, the other insists on his ideals. A bridge between hippie dreams, spirituality and resignation emerges, as does a beautiful love story. Krishna Saraswati wurde im indischen Teil des Himalaya geboren und verbrachte dort die ersten Jahre seiner Kindheit. Filmauswahl: Left My Baby Schon die Kleinsten stehen daneben und fideln mit einem Ast auf ihrem Arm.
Niemand sieht ihnen an, was sie schon hinter sich haben, wie ihnen der Alltag zusetzt. Various Gipsy musicians flock to a funeral in the formerly Hungarian and now Romanian county of Transylvania in order to pay their last respects to their great master. Gathered around the grave, they play their merry yet melancholic music. Even the tiniest children are standing there, with a piece of wood for a bow and their arm for a fiddle. When they play, their faces are happy and awake; they radiate power and joy of life. No one sees what they have lived through, how their daily life wears them down.
Women, alcohol, and poverty — everyone has their story and none of them feature wealth and fame. They talk openly about their lives, of the blows of fate that marked them and the alcohol which killed many of them. Er ist Mitglied der European Fim Academy. A cylinder with cut-outs, rotating around a light bulb and, by means of stroboscopic effects, stimulating certain areas of the brain of a person sitting in front of it with eyes closed. For its inventor Brion Gysin it was a chance to change human perception forever, for the Beat Generation it was a chance to spiritually expand their consciousness or simply get high without drugs.
The filmmaker Nik Sheehan built such a machine and took it to see former companions of Gysin, like Kenneth Anger or Marianne Faithful, as well as writers, scientists and art experts. He paints the portrait of a dazzling but tragic artistic personality who kept experimenting with identities and in the process invented things that made others famous. With a wealth of archive material, he creates a living picture of the New York Village culture and its protagonists.
Filmauswahl: Symposium. Wie werden Stereotype konstruiert? Und inwiefern kommt der Kunst und den Schauspielern Verantwortung zu? Intelligent, mutig und informativ — ein Film also mit Seltenheitswert. Arbo Tammiksaar explores the phenomenon of the concept of the enemy in a macabre, spooky setting into which he ingeniously inserts interviews and film clips.
It was something they did with mixed feelings but readily, since they regarded the Germans as such as cultured people — not to mention money and celebrity. An aesthetic practice with disastrous political consequences: Until today, Baltic people tend to be represented as sympathising with fascism — and the Greater Russian media are particularly prone to do this. How are stereotypes constructed? What does it mean to be the personification of the enemy?
And what is the responsibility of art and the actors in this? Is there a difference between executing a stage direction and a command? Intelligent, courageous, informative — which makes this a film a rare commodity. Fuera de liga Dreaming in Blue Am Januar um On 12 January at 8. Because this film about Cuban baseball also featured players who had left Cuba to try their luck in the Major League.
You can change your wife or your political views, we hear once, but you never change your team. Protest in Cuba is rarely straightforward, but it works — sooner or later. HansDieter Grabe hatte dies fest vor. Denn ihm lag die elementare Erfahrung des Regisseurs und vieler seiner wichtigsten Protagonisten zugrunde, dass es Sicherheit nur geben kann, wenn man zu essen hat.
Can a documentary filmmaker really retire to live the life of a pensioner? In , on the occasion of his 70th birthday, DOK Leipzig dedicated a tribute programme to the grand old man of German documentary filmmaking which included selected works from the oeuvre of this gentle observer of human lives. Hans-Dieter Grabe opened his archive for this film, interweaving scenes from former films with an autobiographical sketch. The result is a deeply moving reflection on basic human needs and a tribute to his protagonists.
Grabe condensed the narrative into a collective century of experience of war, Holocaust and destruction and still leaves us with the realization that humankind has the strength to survive and to preserve its dignity. Alfred Jahn Doch als Erstgeborener einer schweizerisch-nigerianischen Ehe den in Nigeria verstorbenen Vater zu beerdigen, ist eine ganz andere Geschichte. Es warten auch die vielen Verwandten, die in erster Linie kein Geld haben.
Oder war es eine Ziege? Was sind da schon Euro Schulden? Whichever way you look at it, bereavement is first and foremost a lot of stress: with the bereaved ones, the insurance, the undertaker — anything. But being the first-born son of a Swiss-Nigerian marriage and burying your father who died in Nigeria is a different story. So he finds himself suddenly whisked from his Californian dream and deposited in the Nigerian town of Enugu, where the weather is unbearably hot, drinking water must be boiled and his father has been waiting for his last journey in a badly air-conditioned morgue for the last three months.
His numerous relatives whose prime characteristic is lack of money have also been waiting. From now on, events are dominated by persistent attacks on his purse, superstitions, traditional rites and arbitrariness. Or was it a goat? Anyway, at the end of the day the body is buried, the clans are satisfied and Jarreth has gained a family. Zur Zeit lebt Kevin Merz in Lugano. Aufgrund seines antisemitischen Inhalts ist der Film heute nur noch mit Kommentar und unter Auflagen zu sehen. Als einziger Regisseur wurde Harlan nach dem II.
Weltkrieg wegen Verbrechen gegen die Menschlichkeit angeklagt und — freigesprochen. Mehr als Millionen Menschen in ganz Europa sahen seine Filme. Because of its anti-Semitic content, the film may be shown only with a commentary and under certain conditions today. Harlan was the only filmmaker who was tried for crimes against humanity after WWII — and acquitted. Still, the most famous filmmaker of the Third Reich continued to make films, apparently unperturbed, well after the end of the war, until he died on Capri in More than million people across Europe saw his films.
This documentary approaches Veit Harlan and his work through numerous film excerpts and interviews with his children and grandchildren. They talk about their father or grandfather, reflect on his heydays as a filmmaker and his influence on their own lives. The different viewpoints of the second and third generation give the spectator a fresh perspective on a personal approach to history and distinguish this film from established historic documentary formats. Zugleich geschieht auch immer wieder ein unfassbares Wunder, dass sich unserer Ratio entzieht.
In diesem Spannungsfeld bewegt sich Constantin Wulff mit seinem bewegenden Dokumentarfilm, in dem er den Alltag einer Geburtsstation in Wien beobachtet. Childbirth is hard work — for the mother, the baby and all helpers. At the same time, it is an intangible miracle that reason cannot grasp. What he is interested in is the system, the parallels of dramatic births and the banal procedures of a hospital that must do one thing first and foremost — function.
Using a Direct Cinema approach in the tradition of the great American documentary filmmaker Frederick Wiseman, he draws a precise and detailed portrait of an institution and yet produces an emotional roller coaster ride that is hard to evade. Filmauswahl: Spaziergang nach Syrakus , Heldenplatz, Februar Mariam, eine von ihnen, ist Hochzeitsfotografin. Sie leiden darunter, aber machen der ersten Frau auch das Leben schwer. Ein System, unter dem alle leiden, aber aus dem niemand ausbricht.
Approximately forty percent of the Bedouin women in the Negev desert in Israel live in polygamous marriages. The film takes the examples of three women to give us an insight into this closed society.
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Miriam, one of them, is a wedding photographer. She lives in constant fear that her husband might start to look for a second wife. The other two women had no choice: Since one of them is divorced, the other, at the age of 29, too old, they had to marry men who were already married.
They suffer, but they also make life hard for the first wives. The women portrayed in this film are confident and well-educated and do not approve of the system. But social constraints are so strong that they support it by cooperating. Everyone suffers under the system, but no one breaks free. Und was ist mit der lustigen Plastikfigur, die da aus der CornflakesSchachtel purzelt?
Gar nicht zu reden von der geplanten Reise. Not to mention the planned trip. Finnland 35 mm, Farbe, 90 min. Dort aber ist man unbeeindruckt und wird es bleiben bis zuletzt. The end of a lottery stall that has to make way for an underground line and the dawn of a new era: The construction crane looms majestically, acting like a threatening Goliath. When its arm swivels, rattling its chain, this menacing gesture is directed against little David, the lottery stall at the edge of the building pit. The people there are unimpressed, though, and will remain so to the end.
The friendly couple who owns the stall always have an open ear for their customers, even when the latter tell their stories for the umpteenth time — for example the story of the lost coupon with which the elderly gentleman would have hit the jackpot once again, or the story of the most reliable kidney-stone cure of all, which is to drink only beer and eat nothing for three months. Melancholic warmth spreads in the viewer who gets to share the decelerated existence of these people for a few months.
When this corrugated iron stall will be gone, the city may not have lost any valuable architectural substance, but a piece of everyday culture will have vanished. Soon, hurried passers-by will be served coffee-togo. But: no one will feel invited to linger a little. Morawskiego 5 p. Filmauswahl: The Teethmen , The Crew Wie begegnet man dem Tod? Wie lebt man weiter? Und was ist letztendlich wirklich wichtig? Sie kann heilen oder helfen, das Unausweichliche anzunehmen. Shock, profound fear — everything will be different. How do you face up to death?
How do you continue to live? And what is really important in the end? Filmmaker Razvan Georgescu was given three years at most by his doctors — a gift of life and at the same time a countdown. The filmmaker set out to visit important artists for whom their own near death is omnipresent. At the end of his journey we know: art can resist death. It can heal or help accept the inevitable. The artist lives on in his work. He leaves traces — like Razvan Georgescu who creates a hymn to life in the face of death, miraculously giving us comfort, strength and hope. Filmauswahl: Das H.
As a young film student in , Kasim Abid left an Iraq ruled by the secret police and state terrorism. He returned just after the fall of Bagdad as a film director, which was the starting point of this moving film about his family, who survived the dictatorship, the war and the sanctions, welcoming the fall of Saddam Hussein with hope because no one knew what the future had in store for them. Mit der Mutter eines Mordopfers und mit Neonazis.
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His personal, painful journey on the trail of anti-Semitism took him across Europe and America and from hidden prejudice to blatant racial hatred. The media that readily report pro or con, fuelling new hatred. He talks to Jews who deny their identity, and to non-Jews who wear a yarmulke and learn Hebrew; to the mother of a murder victim and to neo-Nazis. He goes as far as a walk through the Berlin Holocaust Memorial with Mahler, who dribbles brown propaganda.
His concept is the deliberate staging of confrontations: he contrasts abstract attitudes with the concrete presence of his person and history. He acts in a macabre play whose reins are sometimes seized by his opponents. His questions and comments on the events and his own Jewish identity are pleasantly self-mocking. And he leaves us with the question where anti-Semitism begins with us. Philippe Petit ist ein Besessener. Philippe Petit is an obsessed man. After having conquered the towers of Notre Dame in Paris, he follows only one goal James Marsh cleverly interweaves spectacular archive material and intelligently re-enacted scenes, building a stage for the tightrope walker from which he can tell his breathtaking story of courage, adventure and love.
James Marsh returns them to us in all their grandeur. Filmauswahl: The Animator of Prague , Troubleman. Buthina Canaan Khoury aber fragt nach. Die tragische Geschichte eines Mannes, der beschuldigt wird, die Ehre einer Frau verletzt zu haben, nimmt kafkaeske Dimensionen an. Auch, weil er uns westlichen Betrachtern zeigt, wie pauschal unser Urteil ist und wie wenig wir wissen. Maria, who was killed in the name of honour, is never mentioned in the Christian community of Ramallah. Buthina Canaan Khoury, however, asks questions.
In contrast to the established view of Western media who basically regard the phenomenon of honour killings as an intrinsic part of Islam, she investigates it in all its cultural and political complexity. It demonstrates with terrifying clarity, though, how powerless the Palestinian police and judiciary are against this tribal tradition dating back thousands of years, how they covertly respect it and what a devastating part the Israeli occupation forces play in this.
A tribal judge explains how many camels or dinars compensate for a rape and why honour killings are no crime and must not be punished. Muslim and Christian women make similar statements, which Khoury contrasts with a young female rapper who risks her life by publicly speaking out against honour killings. It takes a lot of courage to make such a film, not least because it shows us Western audiences how superficial our judgement is and how little we know. Expeditions take us into the big wide world out there, educational journeys into our inexhaustible interior. Great travel writers like Bruce Chatwin, Cees Noteboom or Heinrich Heine found the most perfect expression of their art when they managed to effortlessly combine the two specific types of journeys.
Swiss writer Nicolas Bouvier is also one of their species. He later travelled on to Sri Lanka from where he returned to Geneva. Inspired and drawn in by a nomadic family, his journey ultimately lasted two years instead of the planned six months. Seit dem Studienabschluss ist er als Filmemacher und Journalist in verschiedenen Regionen der Welt unterwegs. Aber es ist wahr. Die sie in die Luft schleudern, wenn ihnen ein Tor gelingt. Die sie rhythmisch aneinander schlagen, um sich auf den Gegner einzustimmen.
The field players have only one leg, but two arms. They need them for the crutches on which they run like mad across the pitch, dribbling, passing and throwing themselves into tackles. They throw them up in the air when they score a goal, bang them together in order to prepare for an opponent. The depressing fate of crippled outcasts awaited them in the camps.
But they shared a common passion, which opened their way back into society — soccer. And so they founded a team, trained like hell and organised matches against other victims of the war in order to spread their message: No more war! Sergi Agusti, in Barcelona geboren, arbeitet seit mehreren Jahren als Fotograf und seit auch als Dokumentarfilmer und Produzent. Eigentlich sind das hier zwei Filme in einem, sie wechseln sich ab und kommunizieren miteinander, werfen sich ironische Blicke zu, wenn sie sich begegnen, und gehen dann wieder ihrer Wege.
Ehrlich gesagt: So anders geht es in der Tierwelt auch nicht zu. Jedenfalls zeigt das der Film mit einem Augenzwinkern. This is really two films in one, alternating and communicating with each other, giving each other ironic glances when they meet before they each go their own way again. Frankly speaking, things are not that different in the animal world.
Paraguay fue noticia Paraguay in the Headlines 1. Die Bilanz: Tote, 9 Vermisste und Verwundete. Es folgen jahrelange Gerichtsverhandlungen auf der Suche nach den Schuldigen. Ebenso wie die Antwort auf die Frage, ob es sich um Mord aus Profitgier handelte. It is the biggest disaster in recent history. The outcome: killed, 9 missing, and injured. Survivors talk of their desperation looking for exits in the burning building.
Some find a way out, but the doors are barred, presumably to prevent looting. As a result, many are unable to escape the fire. The owner of the department store chain, and his son, the manager of this supermarket, are arrested. Years in court follow to determine who is responsible for the incident. The film looks at the winners and losers of the trials on different levels, while the boundaries between the parts of victim and criminal occasionally blur.
As well as the question whether it was murder for reasons of greed is not really answered. Keine leichte Aufgabe mit dem alles kontrollierenden Harold im Haus. Aber die alte, geheime Liebesgeschichte beginnt erneut. Family pictures, animated scenes, interviews and old home movies are combined to tell a dense and entertaining story in which the gentrified suburban facade of this American-Jewish middle-class marriage is peeled off layer by layer. She also talks about the love of her life and how she gave him up after five years of leading a double life in her still fresh marriage.
The two daughters then arrange a reunion between their mother and her former lover: not an easy task with control freak Harold in the house. But the old secret love story is revived. A drama full of exciting twists, acted out by contradictory characters. Seit Mitte der er Jahre lehrt sie unter anderem an Institutionen in Boston und New York und ist mit ihren Arbeiten erfolgreich auf renommierten Festivals vertreten.
Anstelle des Gewehrs sind sie mit Stift und Notizbuch oder mit der Kamera bewaffnet. Und alle eint der Blick gen Himmel. Ist es eine B. Warm hats, long coats, collars turned up. The wine served in plastic glasses from the trunk of the car, the tea from a thermos, accompanied by homemade sandwiches and crackers.
They are armed with pencils and notebooks or a camera instead of guns. And they all are united by their upturned eyes. Is this B. Neben eigenen Filmprojekten dreht er seither vor allem Werbefilme. Danach arbeitete er als Kameramann. Wenn Krieg zum Normalzustand geworden ist, kann Frieden nur ein Traum sein. Gini Retickers Film wird von kraftvollem Enthusiasmus angetrieben. When war becomes normality, peace can only be a dream.
In Liberia, the West African country that has been suffering continuous violent civil wars since , even this dream seems to have become an impossibility. Charles Taylor, the Christian president from to , who kept an army of 20, child soldiers and was a notorious blood diamonds and arms dealer, is facing trial before the war crimes tribunal in The Hague now. The self-styled preacher said about himself that he was able to pray the devil out of hell. Their goal was not to set up another frontline, but to soften existing frontlines and to assert by pacifist means vital needs against economical, ethnic and religious interests.
The women presented in the film also played an important role in the elections when Ellen Johnson-Sirleaf was elected the first female president of an African state. HD, Farbe, 72 min. Wenn man sie wegnimmt, bleiben Bilder. Menschen, die tanzen, singen, ins Theater gehen oder zur Schule kommen. All we know of Soviet life in the s and 60s is an endless series of patriotic feats of heroism in the service of communism — an impression cleverly created in all the documents of the time by means of pathetic voice-overs and gladiatorial music.
If these are taken away, images remain. They may seem familiar to us today, but the act of rededication is spectacular. Separated from any ideological subtext, everything is turned upside down and becomes what it is: the ordinary everyday lives of ordinary people. At work in the ironworks or on construction sites, harvesting, operating machines or working in the newsroom. People who dance, sing, go to the theatre or come to school. Who also vote, praise Khrushchev and are warned of bourgeois behaviour. A life of hardship and joy, full of propaganda and faith in the future.
In a way, Sergey Loznitsa returns their lives to these people, freed from political instrumentalisation.
Was sollen sie besichtigen? Welcome to China! The introduction: A giant excavator pushes carefully but powerfully through a narrow residential alley. Another traditional quarter of Beijing is to be torn down — in the name of progress and for the Olympiad. What should they visit?
High rises? Where are the state and the party who ought to protect the people? They are forced to watch, powerless. This extremely precise and vivid film brings home a well-known phenomenon: how the interests of the capital destroy the life of autonomous communities. Seit lebt Olivier Meys in China. Sdrawstwui, solnyschko! Good Morning, My Sun! Sie kann nicht sehen, aber reden und dichten umso besser.
Danach wird gefegt, alles ist sauber und ordentlich. Seit vier Jahren ist sie blind, doch man glaubt es ihr kaum. She may be blind, but her smock is a riot of cheerful colours. She lives alone, but the animals are well taken care of and the flowers in the garden are blooming. She milks the goats before she does some baking, using the eggs from the chicken coop. Then she sweeps until everything is clean and orderly.
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But she is old, maybe too old to live this life alone. Still, she will pack her bags and move in with her daughter in her city flat. And only this makes her shed a few tears. Die Tiefgarage eines aufgegebenen Einkaufzentrums in Tel Aviv.
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Das Aufflackern einer Kerze. Die Glut einer Zigarette. Schemenhaft sind die Umrisse von Menschen zu erkennen. The underground car park of an abandoned shopping mall in Tel Aviv. A candle flickers. A cigarette glows. Welcome to hell. Jamal is one of them, the protagonist of this unusual view of Israeli-Palestinian reality. He endures all this only because he needs money to marry Nisrin, the love of his life, who is waiting for him in the Salem refugee camp in the West Bank to finish the roof of their future home. Filmauswahl: Breaking Walls Sie werfen sich Stichworte aus ihrem Leben zu.
Lieblingslieder, erste Schallplatten, Radiohits. Bill trug, als sein Idol Sinatra verstorben war, eine schwarze Krawatte. Ihre Unterhaltungen, in denen sie immer wieder zum Singen ansetzen, sind voll englischen Humors. Two friends, Stevie and John, a married couple, Bill and Mary, and sprightly old Joan with her daughter Lynn sit in pairs in front of the camera and talk about music. They toss catchwords from their lives back and forth. Favourite songs, first records, radio hits. Bill wore a black tie when his idol Frank Sinatra died.
Joan remembers that everyone had to keep quiet when her favourite singer was played on the radio. Their conversations, interrupted by the occasional burst of singing, are full of British humour. At last they perform songs until they run out of lines. One would just love to sit down and sing with them. Aber Sonbol ist alleinstehend, geschieden, ohne Kinder und wohnt bei ihren Eltern.
Sonbol Fatemi, 35 years old, is a dentist who has her own surgery. Society expects her to be married, have two children by now, work less and take care of her family, for she lives in Mashad, a city in the Islamic Republic of Iran. But Sonbol is single, divorced and childless and lives with her parents. In her spare time she competes in car rallies and loves to tell dirty jokes. The film portrays a woman who wants to be herself and fights for it — with God on her side, every day.
Filmauswahl: Genova citta aperta , Prime Time , Pake In dieser Umgebung ist der Starchirurg aus England mehr als sonst mit der Angst vor dem Scheitern seiner Kunst konfrontiert. The little man with the big glasses who looks as if he stepped out of a Woody Allen film cycles to work every day, potters about in his garden, has a glass of red wine in front of his fireplace at night — and treads the line between life and death every day.
In the Ukraine, too, where he has been treating and operating patients for the past 15 years with his friend Igor, he has helped, through the transfer of know how and medical equipment, to bring a rather medieval surgery practice up to date. In this environment, the star surgeon from England is confronted even more than usual with the fear of failure.
The cleverly plotted suspense culminates in a brain tumour operation during which the patient must remain conscious because there is no modern monitoring equipment. This is set against the story of a girl whom he was unable to help. An impressive film about human solidarity and the potential failure that accompanies all our actions. Smith lebt seit mehreren Jahren in London. Aber Kim sitzt im Rollstuhl. Doch Tanz kann mehr, als man denkt. So entstehen vor unseren Augen Tanzbilder, die Behinderungen vergessen lassen. Kim war sieben Jahre, als die Roten Khmer ihre Familie trennte und das Kind in ein entferntes Dorf verschleppten.
Tanzen hat sie zuerst von den Propaganda-Shows jener Zeit gelernt. Kim and Kate are both rehearsing for a dance theatre in Phnom Penh. But Kim is wheelchair-bound. Years ago, she told Kate that she would never be able to dance again. Together they created a technique that fuses tradition and modernity, disability and mobility and enables them to express themselves by dancing together.
It is based on a clear body image, intimacy and the synthesis of Eastern and Western dance traditions, creating images of dancing which let us forget any disability. Kim was seven years old when the Khmer Rouge separated her family and carried off the child to a distant village. She first learned to dance for the propaganda shows of that time. Both women were only too familiar with fighting against the odds. Thus the film, which is neither a dance film nor a film about handicapped people, skilfully combines quite diverse subjects in a single story — of a friendship.
Hill Kamera, Produktion: Sven O. Ihre bisherigen Kurzfilme wurden auf internationalen Festivals gezeigt. Sven O. If it were technically feasible, the filmmakers would even have added the smell of sweat. So how can our society simply go on as if nothing had happened? The film follows Morris on his missions to the interior of the country where no other journalist ever goes. But how long can anyone bear to fight against those powers? Trzech Kumpli Three Buddies Am 7. Alle drei verstanden sich als undogmatische Rebellen. Seit einigen Monaten war jedoch das Gift des Misstrauens in ihre Beziehung gesickert: Maleszka war vom polnischen Geheimdienst als Informant rekrutiert worden, und der gewandte Intellektuelle entwickelte einen unerwarteten Ehrgeiz, sich in dieser Position zu profilieren.
The official version was that he had broken his neck as he fell down the stairs. All three saw themselves as undogmatic rebels. But the poison of suspicion had seeped into their relationship in the past few months: Maleszka had been recruited as an informer by the Polish secret service, and the shrewd intellectual developed an unexpected ambition to distinguish himself in this position. The film by Ewa Stankiewicz and Anna Ferens tries to cut open gaps into the thickets that surround the story and its protagonists until today, to enable a better understanding and a clearer view.
The two directors do not act out a retroactive court trial but trace the imponderability of biographies. They embody two extreme variations of individuals taking a stance between loyalty and treason. Between them lies a wide field of different shades of grey, unfathomable and terrifyingly normal.
Es ist immer wieder ein kleines Wunder, wenn die Figuren im Kasperletheater auftauchen, sich bewegen und zu sprechen beginnen. Ein Meister der Illusion war Wladislaw Starewicz — Doch, wie so oft im Leben, gehorchten die Protagonisten nicht dem ambitionierten Regisseur. The illusion is stronger than the mind — we want to be seduced and immerse ourselves in a fantasy world. Wladislaw Starewicz — was a master of illusion. Film had barely been invented when the animal lover, who had grown up in the Lithuanian city of Kaunas, began to film bugs.
So Starewicz began to fix wires to the legs of dead bugs and re-enact the fights between them by means of single frame exposures. His path led first to Moscow and then to Paris, where he created unique fairy tales on film. Trotzdem wollen sie nicht weg aus dem heimatlichen Umfeld, auch wenn dieses einem Ende zutreibt wie sie selbst. Und gelegentlich mit der Babuschka einen Walzer zu tanzen. An ancient patched road, trees full of bright autumn colours and a lonely cyclist laboriously pedalling through the landscape. In the village he knocks on the doors of lopsided cottages, creaky doors open and old women with headscarves welcome the doctor.