“Courtroom drama meets political thriller worthy of John Grisham in this explosive, spellbinding story about a young lawyer who comes across one of the biggest judicial scandals in German history and a truth that nobody wants to face. Fabrizio Collini (legendary Italian actor Franco Nero) is recently retired. He’s a quiet, unassuming man with no indication that he’s capable of hurting anyone. And yet, he brutally murders a prominent industrialist in one of Berlin’s most exclusive hotels.

After returning from a concentration camp, Susanne finds an ex-soldier living in her apartment. Together the two try to move past their experiences during WWII. A biographical portrayal of Simon Wiesenthal, famous Nazi Hunter. From his imprisonment in a Nazi Concentration Camp, the film follows his liberation and his rise to become one of the leading Nazi hunters in the world, bringing such criminals to justice as Adolf Eichmann and Klaus Barbie.

Landscapes of Memory – The Life of Ruth Klüger is a biopic about the high profile author Ruth Klüger, a famous scholar of German literature. Her autobiography Still Alive: A Holocaust Girlhood Remembered is an international bestseller and the book’s publication in 12 languages has garnered multiple awards for Klüger. It is one thing to survive the Holocaust, but quite another to deal with the lasting impact of this experience. This filmic portrait of Ruth Klüger, an American literary scholar from Vienna, deals with these issues by revisiting four significant places in her life: Vienna, California, Göttingen, and Israel. Ruth Klüger also shares her thoughts on very personal topics: her childhood in anti-Jewish Vienna, her life in the States, her motherhood of two American sons, and the culture of commemoration.

The Rabbit Is Me was made in 1965 to encourage discussion of the democratization of East German society. In it, a young student has an affair with a judge who once sentenced her brother for political reasons; she eventually confronts him with his opportunism and hypocrisy. It is a sardonic portrayal of the German Democratic Republic’s judicial system and its social implications. The film was banned by officials as an anti-socialist, pessimistic and revisionist attack on the state. It henceforth lent its name to all the banned films of 1965, which became known as the “Rabbit Films.” After its release in 1990, The Rabbit Is Me earned critical praise as one of the most important and courageous works ever made in East Germany.

In einem Tiroler Bergdorf lebt um 1815 herum die verwitwete Hebamme Rosa Kölbl mit ihrer jungen Schwester Anna. Zur selben Zeit, als sie der Bachler-Bäuerin fast gegen deren Willen bei der Geburt des achten Kindes hilft, ist auch der junge Medicus Gennaro Kauner beim Pfarrer im Dorf zu Besuch. Rasch ist zu erkennen, dass sie mit dem jungen Arzt viele Ansichten teilt, die aber für die damalige Zeit als aufklärerisch gelten. Eine davon ist die Idee des Arztes (und dessen Vorgesetzten) eines Gebärhauses, in dem Frauen in Ruhe und unter wesentlich hygienischeren Bedingungen ihre Kinder zur Welt bringen können als im Dorf oder den Armenvierteln der Stadt.

Controlled in turn by Austria, Romania and Russia, Czernowitz was once a cultural (and highly cultured) melting pot with a Jewish population comprising about half its total 150,000. These days, it’s quieter, smaller, less diverse, and again a source for exodus–though now for economic rather than political reasons. Among those journeying back to explore their roots and visit family burial sites are the U.S.-based writer Norman Manea, actor Harvey Keitel (whose segs are the least engaging), a Berlin cellist, and two middle-aged Viennese sisters. Their visits are variably painful or pleasant, provoking meditation on the concepts of home, native language and belonging.

Die Unbeugsamen tells the story of the women in the Bonn Republic, who literally had to fight for their participation in the democratic decision-making processes against men obsessed with success and drunk on office like real pioneers. Fearless, ambitious and with infinite patience, they pursued their path and defied prejudice and sexual discrimination. Politicians from back then have their say today. Her memories are at once funny and bitter, absurd and at times frighteningly topical. Intertwined with partially unseen archive excerpts, the documentary filmmaker and journalist Torsten Körner (Angela Merkel - The Unexpected) has succeeded in creating an emotionally moving chronicle of West German politics from the 1950s to reunification. The images he found unfold with such force that the cinema can be rediscovered as a place of political self-assurance. An insightful contemporary document that makes an unmistakable contribution to the current discussion.

Six-year-old Cenk Yılmaz is faced with the question of his identity when he is not voted into either the Turkish or the German soccer team at his German school. As the son of Ali, who is of Turkish origin, and his German wife Gabi, he does not speak Turkish.

At a family celebration, his grandmother Fatma announces that he has recently been naturalized in Germany, and grandfather Hüseyin explains that he has bought a house in his home village in Turkey that he wants to use as a summer residence. In order to renovate it, he decides that the entire family will go there for the holidays.

1981, Quiberon, a small village on the coast of Brittany, France. Hilde Fritsch arrives to visit her old friend who has retreated to a spa hotel to escape the daily pressures of her life. Her friend is world-famous star Romy Schneider, but together they appear like two regular women, who are just happy to be reunited. Yet it quickly becomes apparent that Hilde is supposed to offer the support the sensitive actress needs to be able to truly face her own demons. Shortly after, the young journalist Michael Jürgs and Romy's long-time acquaintance, photographer Robert Lebeck, arrive to conduct an interview for the famous German magazine STERN.

“Three women and four men: Everyone has a mobile phone, which makes a total of seven mobile phones. When the friends come together for dinner one evening, they suddenly come up with an idea. They play a game: Everyone puts their cell phone in the middle of the table and no matter who gets which pictures or messages sent, no matter how brief - everything has to be shared with the others. Telephone calls are only allowed via the loudspeaker. But what starts as an entertaining pastime, which should bring a little tension in the evening, soon leads to some embarrassing and tense situations full of surprises. And soon, not only the mood threatens to tilt, the long-standing relationships are at stake through the discovery of explosive lies and secrets at stake.”

Brown Babies: The Mischlingskinder Story tells the personal and painful stories of Afro-American-German Brown Babies in a world where biracial, bicultural children were unwanted, ignored and forgotten. Abandoned by enemy nations and their families. Brown Babies: The Mishlingskinder Story shows how these children overcame extraordinary obstacles and honors the African-American woman who fought to save their lives when no one else would. Many archival images appear courtesy of the AFRO American Newspapers Archives.

Swetlana Geier is considered the greatest translator of Russian literature into German. Her new translations of Dostoyevsky’s five great novels, known as the “five elephants,” are her life’s work and literary milestones. “The concept of transportation is not an adequate metaphor for translation. It is not transportation, since the luggage never arrives. I’ve always been interested in the losses. By what always has to be left outside that which has been newly created, the translation.”

The Threepenny Opera differs in significant respects from the play and the internal timeline is somewhat vague. The whole of society is presented as corrupt in one form or another. Only some of the songs from the play are used, in a different order. Bertolt Brecht and Kurt Weill, the playwright and composer of the stage play that the film is based on, were originally hired to adapt the play for film, but Brecht quit in the middle of production, while Weill continued working on the film until he was fired. The two each sued Warner Bros. and the German production company on the basis that sale of the rights stipulated that nothing in the stage production could be changed for the film. Brecht and Weill intended the piece as a satire on capitalism, and claimed that the ideological basis of the story was softened by director G. W. Pabst, who wanted the film to be more entertaining. Brecht was accused of breach of contract and his suit was rejected, but Weill won his suit.

This was recorded in the early 1990’s as an expose on Blacks in Europe. Ika Hügel-Marshall appears in this segment on Afro-Germans. This is a copy made from a VHS tape.

Audre Lorde – The Berlin Years 1984 to 1992 focuses on Audre Lorde’s relation to the German Black Diaspora, her literary as well as political influence, and is a unique visual document about the times the author spent in Germany. The film is also for coming generations a valuable historical document of German history, which tells about the development of an Afro-German movement and the origins of the anti-racist movement before and after the German reunification.

Das pommersche Dorf Kummerow zur Zeit Bismarcks: Pastor Breithaupt, der streitbare Seelenhirte der Gemeinde, hält zwar viel von Tradition, von heidnischen Bräuchen aber gar nichts. So ist ihm der Ritus des “Heidendöpen,” den die Kinder von Kummerow jedes Jahr leidenschaftlich pflegen, zutiefst zuwider. Jahr für Jahr stehen sie im eiskalten Wasser des Mühlbachs, und wer es am längsten aushält, wird zum König gekrönt. Dass Breithaupts Jüngste, Ulrike, die “Braut” bei diesem Wettbewerb spielt, verschlimmert die Sache natürlich erheblich.

This epic documentary/drama about arguably the greatest German author of the 20th century is really fascinating. Watching Elisabeth Mann-Borgese return to the places of her childhood is quite a moving experience and you feel the wisdom and the experience this old lady can share with the world. And it is a great gift for all of us that she did so shortly before her death. What a great family story this is! Everybody does a tremendous job in acting their roles…. This mixture of historical movie and documentary is just about perfect and may establish a new genre.

A Turkish German woman wages a near-hopeless battle to assert her independence from the oppressive values of her family and their Old World culture in When We Leave, a doleful melodrama. There are some intense, moving sequences, but too much emotional badgering and a general shortage of finesse. The beleaguered central character, Umay (Sibel Kekilli), a German-born woman of Turkish background, suffers physical abuse from her husband in Istanbul. Pushed beyond her limit, she flees with their young son (Nizam Schiller) to her family in Berlin, where she hits a wall of cultural attitude. By leaving her husband and, worse yet, taking the boy, she has brought shame on the family. (San Francisco Chronicle)

Director Feo Aladag made the movie in the wake of a series of honor killings in Germany's Turkish community.

The film made the band Puhdys a household name in East Germany. The band performs four songs in the film, all of which drew heavily upon specific western pop songs. The film’s enduring popularity led to a stretch of waterfront on the Rummelsburger See (Rummelsburg Lake) in Berlin-Lichtenberg, near where the boat scene was filmed, to be renamed Paul und Paula-Ufer (Paul And Paula Shore).

Paul’s new apartment was on the third floor of Singerstraße 51 in Friedrichshain. Paula’s apartment across the street was demolished, as shown in the film. A supermarket now occupies part of the site.

Berlin Ostbahnhof can briefly be seen in some of the outdoor scenes, as it is only a short distance from the Singerstraße. The supermarket where Paula worked is located at what was then Leninplatz (now Platz der Vereinten Nationen).

A woman returns to her Orthodox Jewish community that shunned her for her attraction to a female childhood friend. Once back, their passions reignite as they explore the boundaries of faith and sexuality. Disobedience is a 2017 romantic drama film directed by Sebastián Lelio and written by Lelio and Rebecca Lenkiewicz, based on the novel of the same name by Naomi Alderman. The film stars Rachel Weisz, Rachel McAdams, and Alessandro Nivola.

Set in North London, it tells the story of a woman who returns to the strict Orthodox Jewish community for her father's funeral after living in New York for many years, having been estranged from her father and ostracized by the community for a reason that becomes clearer as the story unfolds.