Die Fortsetzung, Filmliste #2, liegt hier



We prefer the plot descriptions in Wikipedia:
Gene Roddenberry: Star Trek - The Next Generation (Das nŠchste Jahrhundert)


43917.4 Sarek

Ambassador Sarek comes on board with his staff and his new (also human) wife, Perrin, to complete a treaty with the Legarans (his last mission before retiring). Although his aides seem overly concerned with his health (Sarek himself says they're overprotective and seems fine), and Sarek is slightly cranky (as cranky as a Vulcan ever gets), all seems well. (We do, however, see a bit later that Sarek is currently unable to meditate to attain peace.)

Then, not long after he comes on board, tempers start flaring up on board the ship: Wesley and Geordi start arguing with each other heatedly while setting up the conference room and are broken up by Riker. Then, after a Mozart recital which Sarek attends (and at which Picard actually sees Sarek cry), tempers get worse: Bev slaps Wesley for no reason, and Ten-Forward becomes the site of a bar brawl.

Bev and Troi eventually advance a theory: Sarek himself may be the cause, due to a very rare malady contracted by aged Vulcans known as Bendai's syndrome, in which all emotional control is gradually eroded away. Eventually, Data confronts Sarek's young aide Sakkath about his odd behavior (checking to see how Picard's diplomatic skills are, and so forth), and eventually finds that Sarek indeed suffers from the disease, and that Sakkath has been trying to help Sarek's control, with limited success. This will jeopardize the treaty with the Legarans (since Sarek's the only one they'll speak to), but Picard is forced to convince Sarek of this anyway, over the objections of both Perrin and Sarek's chief of staff, Mendrossen (also a human).

Picard manages to convince Sarek of his ailment (by driving him virtually incoherent with rage, which he shouldn't be able to do), but is then struck by remorse over what he has done to such a great man. Upon Perrin's later suggestion, Picard suggests to Sarek that the two of them mind-meld, giving Sarek the added control he needs, and letting Picard serve as a temporary well for Sarek's emotions. Despite the risk, they go through with it, and while Picard/Sarek rages over his inability to tell people he loves how much he loves (or loved, in the case of the dead) then, Sarek/Picard manages to conclude the treaty. Sarek expresses his gratitude to Picard, and says they will each retain the best part of the other. He leaves, his mission successful, but his control eroding further...and Bendai's Syndrome has, at present, no cure.



44161.2 Remember Me (S4E5: 2x engl.)

Beverly Crusher looses more and more of her friends - and what's more: they don't leave a trace: Her world appears as if these friends had never been there in the first place. Eventually -when asked by Beverly- the computer of the Enterprise states that the universe is a sphere with a diameter of a few meters. 



44215.2 Legacy

A rescue mission leads the crew to the birthplace of their late comrade Tasha Yar, where they encounter her mysterious sister.



44286.5 Future Imperfect (S4E8: 3x engl.)

After an Away Team mission fails, Riker awakens in sickbay to discover sixteen years have passed and he now commands the Enterprise



44307.3 Final Mission

After being accepted to Starfleet Academy, Wesley accompanies Picard on a final mission, only to find himself struggling to keep the captain alive



44356.9 The Loss

Counselor Troi resigns her post after experiencing a mysterious loss of her empathetic powers.



44474.5 Devil's Due

Picard fights to save a terrorized planet from a powerful woman who claims to be the devil



44704.2 The Nth Degree

A crew member is endowed with super human intelligence by an alien probe and threatens the fate of the Enterprise.



44741.9 Qpid

The mischievous Q turns Picard into Robin Hood and sends him on a quest designed to force him to prove his love for an old flame



44769.2 The Drumhead

A search for spies aboard the Enterprise turns into witch hunt in which Picard is implicated as a traitor




45047.2 Darmok (S5E2: 1x engl.)

The Enterprise is in the El'A'Drel system to meet with the Tamarians, a race which seems peaceful, but have been described as "incomprehensible" in past encounters. Both sides try to converse, but no progress seems to be made; although the words are understandable, their meaning is not. The Tamarian captain, after a brief and heated discussion with his first officer about "Darmok and Jilad at Tanagra," beams off his bridge-and Picard is beamed off the Enterprise at the same time.... Data and Troi get to work on establishing a communication of some sort.

They find very little at first-"Darmok", used as a name of some sort, has 47 different meanings in nearby systems. After Troi expresses... Dathon ... frantically tries to give Picard a knife, saying "Darmok and Jilad at Tanagra!" repeatedly. Picard refuses-but then a loud growl is heard from not very far away. "Darmok, and Jilad..." says Dathon with resignation, "at Tanagra."

Picard then takes the knife, realizing that the problem is not with Dathon. ... Picard makes an intuitive breakthrough, and finally realizes that the Tamarians communicate via metaphor, by citing examples from their own culture. "Sucat, his eyes uncovered!" exclaims Dathon in elation. However, an alien creature's attack easily breaks through the defenses of both men, and Dathon is sorely battered.


Picard "talks" with a wounded Dathon. Eventually, he pieces together the puzzle-Dathon intended for the two of them to come down to the planet and fight a common enemy to form a bond between them, just as Darmok and Jilad did against the beast of Tanagra. Picard, in return, tells Dathon a tale of Gilgamesh and Enkidu- just before Dathon succumbs to his wounds and dies.



45122.3 Silicon Avatar

While Riker, Data, and Bev are visiting the Melona Four colony, the Crystalline Entity appears and utterly destroys it, although all but two of the colonists are saved. The Enterprise is sent to track the Entity down, with the help of xenologist Kyla Marr-a woman who, although capable, has no trust for Data, due to Lore's previous assistance given to the Entity in the past. ...

As the Enterprise follows the Entity (which is apparently headed for the Brechtian cluster), Picard has to point out to Marr that the intent is not to kill the Entity unless they absolutely have to-he'd prefer to find a way to communicate with it, and see if its needs can be supplied in some other way. Marr is understandably skeptical, but agrees to work with Data to find a method of communication.

They find one-and Marr further finds that through Data's programmed memories and experiences of the Omicron Theta colony, she can, in some respects, hear her son again. (After the Entity captures and "consumes" the inhabitants of another ship, Data reads one of her son's journal entries aloud in his voice, bringing tears to Marr's eyes.)

They eventually find the Entity and begin broadcasting a series of graviton pulses to it. It appears to respond, and emits a pattern which is almost undoubtedly a sign of intelligence, although they cannot yet decipher what the pattern of pulses means. Picard is elated-but then Marr, who wrote most of the program, alters it to emit a continuous pulse of gravitons with rapidly increasing amplitude, and locks the program in such a way that neither Data nor Geordi can stop the emission before the Entity is shattered.

Data takes Marr back to her quarters, her mind virtually snapped. She asks "Rennie," through Data, to tell her that he understands she did it for him. Data demurs: from what he knows of her son through his journals and vivid memories, he believes Rennie would be very sad at the loss of both the Entity and of his mother's brilliant career.



45208.2 The Game

The fate of the Federation is in Wesley Crusher's hands when he returns to find the crew of the Enterprise addicted to a dangerous new game.



45233.1 Unification: Part 1, Part 2

Picard and Data travel to Romulus to investigate an unauthorized mission undertaken by the Federation's legendary Mr. Spock

They're taken to some deep caverns, where Pardek greets Picard by name. He regrets the deception, but says that he had to get Picard and Data off the streets as soon as he could, since the *real* Romulan Security knows of their presence. Picard, relieved to be among friends, tells them of his mission. "I'm looking for Ambassador Spock."



45349.1 A Matter of Time (S5E9: 1x engl.)

... Rasmussen then prepares to leave, but is surprised to find the Enterprise crew blocking his way into his ship. It seems that they've noticed the various missing items, and want a look inside his ship for them. He initially refuses, but after it's pointing out that he'll never get in if they can't, agrees to let Data, and Data only (as Data can be ordered never to reveal any future secrets he sees) come inside to look. Data finds the items, but is threatened with a phaser by Rasmussen, who turns out not to be an historian from the future, but rather a disgruntled inventor from the PAST. He swiped the time pod from the real 26th-century historian who visited him several weeks "ago", and planned to take the items he stole back to his time and "invent" them over a few years. He now intends to take Data as well-but fortunately, the computer picked up the weapon when the door was opened and deactivated it. Data drags Rasmussen back out, and the now- emptied time pod vanishes back to where it came, leaving Rasmussen to the mercy of 24th- century historians who will, no doubt, be very interested in studying him.



45376.3 New Ground

Worf learns some painful lessons about parenting when his son Alexander arrives to join his father on the Enterprise.



45397.3 Hero Worship

A young boy who is the sole survivor of a devastated ship becomes obsessed with simulating Data.




47135.2 47160.1 Gambit, Part 1, 2

Picard has been missing for weeks, and the search for him leads to a seedy bar on Dessica Two. A combination of reward and intimidation finds them someone who tells them what they need to know - but that fact is bittersweet, as they find that Picard was apparently vaporized in a bar brawl by mercenaries! The mercenaries' base may be located in the Barradas system, and Riker orders the Enterprise there quickly.

Riker is shocked to find Picard, who has been missing and presumed dead, posing as a mercenary on an alien ship.

Picard and Riker masquerade as mercenaries in order to retrieve a potentially lethal Vulcan artifact.



47215.5 Interface (S7E3: 1x engl.)

The USS Raman is in jeopardy, trapped inside a gas giant, and the Enterprise is naturally called in to rescue them. They plan to do so by using a new piece of technology, a probe that Geordi uses via a direct neural interface, letting him experience the probe's responses as if he were actually where the probe is. Although the gas giant's atmosphere is very turbulent, the probe should be able to transmit without problems. All is well - until Starfleet calls Picard with a message of bad news. The U.S.S. Hera disappeared four days ago, along with all of her crew - and her captain, Geordi's mother.



47254.1 Dark Page

Dark Pages of Lwaxana: ... Deanna finds Lwaxana, alone and pitiful. Lwaxana tells Deanna to leave, but Deanna refuses, telling Lwaxana to let them face the truth together. Deanna sees a scene play itself out: a scene of herself as an infant, with her mother, her father, and an older sister, Kestra, whom Deanna never knew. Lwaxana finally tells Deanna of the tragic accident in which Kestra died, and with Deanna's help comes to terms with her own role in it. Lwaxana "says" goodbye to Kestra, and she and Deanna both wake, fully recovered. With Lwaxana returned to health, she and Deanna begin to talk about Kestra



47304.2 Attached (S7E8)

... As Picard and Bev continue their escape (narrowly avoiding plumes of flaming gas), Riker manages to establish a link with the Prytt. However, the connection is immediately broken, because the contact was not authorized. Loren, representing the Prytt Security Ministry immediately calls back, livid, and threatens the ship if they don't stop their hails. Mauric, hearing about this from Riker, attempts to cheer him up by saying that his agents have freed Picard and Bev. They adjourn to his quarters to discuss the details, which involve quite a bit of cloak-and-dagger intrigue. Picard and Bev, meanwhile, discover while traveling that the neural implants are allowing them to read each others thoughts and emotions, at least on a surface level. The experience is unsettling for both of them: stray, uncontrolled thoughts lead to tension until they each realize that the other cannot be held responsible for stray thoughts. What's more, when they attempt to separate and weaken the psychic link, they find that they become uncontrollably nauseous when too far apart. They continue their travels, and the connection between them strengthens as they begin to find out more about each other's hidden thoughts and fears. The situation changes, however, when they spot a Prytt guard standing watch by the path they mean to take. They decide to take an alternate route to the Kes border.

Riker and Worf go to talk to Mauric, who is very upset that Picard and Bev have not shown up on schedule to the rendezvous. He accuses the Federation of secretly allying itself with the Prytt, and insists on leaving the ship.

Some time later, after the implants have been removed, Picard asks Beverly what they should do about their new understanding of each other. Now that they've realized these feelings, he suggests, perhaps they should "not be afraid" to explore them. Beverly leans in and gently kisses him, but then responds, "Or perhaps we should be afraid. [...] I think I should be going now." They part, and Jean-Luc broods over the wash of empty space.



47310.2 Force of Nature

An alien brother and sister resort to desperate measures to prove their theory that warp drive is destroying the universe.



47391.2 Parallels (S7E11: 2x engl.)

An alien brother and sister resort to desperate measures to prove their theory that warp drive is destroying the universe.

... a small ship approaches, and its two inhabitants, Drs. Rabal and Serova, beam aboard. They say that Serova's research has discovered that warp-fields are very hazardous in that region of space, and will in mere decades cause the formation of many subspace rifts, threatening the habitability of Hekaras Two. In exchange for their assistance in repairing the Enterprise, Picard agrees to have Data re-examine their findings, but sternly cautions that the remainder of the mines are to be deactivated at once. Rabal agrees, over Serova's objections.

... although both Rabal and Serova say that their planet is willing to give up warp travel altogether (thus isolating themselves from all other worlds), Data's analysis merely leads to a recommendation of more study. Rabal takes this as a positive first step, but Serova is appalled. As the engines are repaired and the Enterprise nears the Fleming, Serova takes her spacecraft and deliberately causes a warp-core breach, destroying herself and creating a rift in the process.

The Fleming is now inside the rift, and Geordi and company must find a way to get the crew out safely without using warp engines in or near the rift. As Geordi, Data and Rabal devise a way to "coast" in and out of the rift using a short-duration warp pulse well outside it, Geordi ponders his resistance to Serova's claims, wondering if he was truly as open-minded as he claimed to be. Rabal reassures him that his reactions were not overly hostile, but also points out that everyone will soon have to reexamine the way they look at space travel.

... The mission into the rift begins, but is quickly complicated when the Fleming tries to use its own warp engines to escape. The ensuing distortions damage both ships, the Fleming seriously, and also enlarge the rift enough to make the "coasting" solution impossible. In the end, the Enterprise escapes by "surfing" a distortion wave out of the rift. With studies showing that the entire corridor may become one massive subspace rift within forty years if something is not done, the Federation announces restrictions on warp travel in that region - and the crew of the Enterprise becomes grimly determined not to become part of destroying the things they are so keen to explore.




47410.2 Inheritance

... The Enterprise crew is assisting in re-liquefying the core of Atrea Four by drilling holes to "magma pockets" near the core and injecting hot plasma into the core from there. However, Data soon finds he has more concerns than this one project, because one of the scientists, Dr. Juliana Tainer, claims to have been Data's co-creator - and Noonian Soong's wife! Her story is, in many ways, quite convincing. She says that she married Soong in secret owing to parental pressure, and that Data has no memory of her because his early experiences were erased after a difficult "childhood". Juliana is very surprised to hear that Data and Soong have actually met, and finds herself hit very hard by the news of Soong's death, despite the fact that she left him years and years ago. Even with all these details, however, Data is initially very skeptical of her claims, in part because Soong never mentioned her. He searches for as much corroborative detail as he can, and finds enough to convince him that she's telling the truth. They continue to get to know each other, discussing things such as the choice of Data's gender, and the programming of both manners and modesty into Data's personality after some childhood difficulties. The initial drilling to the magma pocket is successful, and with a few hours to kill, Data shows Juliana his quarters.

There, Juliana is swept away by the "beauty" of Data's violin playing, and asks to accompany him in an upcoming recital. Her mood worsens, however, after she sees a painting of Lal and hears of her tragic story. Later, after they practice, she asks Data if he intends to create another android, and worries about whether it's right to create something with such little chance of survival. She speaks from experience; apparently, she and Soong had three android "miscarriages" before a successful creation - and that creation was Lore. Eventually, she reveals that she was initially opposed to Data's creation, and admits that she forced Soong to leave Data behind when the Crystalline Entity attacked, worried that otherwise she might have to deactivate him as she did Lore. She leaves, in tears. ...



47423.9 Homeward

The Enterprise reaches Boraal Two after Worf's foster brother Nikolai sends a distress signal. They find that the atmosphere is being wiped out by plasmonic reactions, and that the planet will be dead in less than 38 hours. Worf, seeing possible signs of a deflector shield in caverns near Nikolai's observation post, beams down (after alteration to look like a Boraalan) to look for Nikolai - but he finds not only Nikolai, but a group of Boraalans looking for Nikolai and Worf to save them as well! Worf and Nikolai, pretending to return to the surface, return to the Enterprise, where Nikolai argues in favor of saving one Boraalan village, despite the gross violation of the Prime Directive everyone else believes it to be. Picard refuses outright to approve Nikolai's request to create an atmospheric shield, and orders Nikolai to stay off the planet, retrieving his research only via Enterprise comm-link.



N/A Sub Rosa

Shortly after her grandmother's death, Beverly falls under the spell of a ghost lover who has been in her family for generations.



47566.7 Lower Decks

While enduring the Enterprise's promotion evaluation process, four junior officers find themselves involved in a top-secret mission, Sito is one of them.

... Picard gives Sito a long, probing look as he proceeds to sickbay. Later, when he leaves, he takes Sito with him, much to the chagrin of Lavelle, who exits the turbolift they enter. En route to the bridge, Picard confirms that Sito is, in fact, a qualified pilot.

In his ready room, however, he takes a very different tone. He refers to her candidacy for the Ops position, but says that he has some serious questions about her record. At the Academy, she took part in a dangerous, daredevil stunt that took the life of a cadet - and though he is certain she would not do that again, he takes great umbrage to her participation in the coverup afterwards. He tells her that her unwillingness to come forward with the truth raises profound questions about her character - and when she protests that sticking with the unpleasant aftermath of being found out also says something about her character, he tells her rather brutally that she's made her bed. "As far as I'm concerned," he adds, "you should have been expelled for what you did. Frankly, I don't know how you made it on board this ship." Sito is dismissed, and leaves as fast as she can.

The next morning, Worf stops Sito at the end of his mok'bara class to give her an unscheduled test for the advanced-level class. The test, however, is blatantly unfair, and Sito realizes it after three falls. She refuses to continue, and Worf congratulates her for passing by having the courage to note that the test was unfair. In fact, he adds, there is no such challenge, "but perhaps next time you are judged unfairly, it will not take so many bruises for you to protest."

Thereafter, Sito heads for the ready room, there to confront Picard about his actions the previous day. She tells him that, with respect, it is not his place to punish her for the Academy incident, and that he should either judge her on her record now or let her transfer off the ship. Picard is impressed by her courage, and tells her that he was interested in getting her reactions, not for Ops qualification, but for an upcoming mission. He asks her to join the senior officers at 0900 for a briefing, and adds that he does know why she's on the Enterprise: he asked for her.

After Ogawa tells Bev that Powell has asked her to marry him (making Bev relieved beyond measure), Sito attends that meeting, only to meet Joret Dal, a Cardassian officer who is also a Federation mole. He has given them vital information that will help the security of countless planets, and now needs to be able to get home. He points out that the border is heavily guarded, and that alone he would be unlikely to convince them that he's legitimate, even in an apparently-stolen, damaged Federation shuttlecraft. However, he might be able to pass as a bounty hunter - if he had a prisoner, particularly a Bajoran terrorist. Although the mission is extremely dangerous, Sito volunteers. She leaves for sickbay, and Joret observes, "I didn't realize she would be so young."

Shortly thereafter, Sito boards the shuttle, cosmetically altered to appear brutalized by Joret. She thanks Worf for his confidence in her, and tells him she'll see him soon. The shuttle leaves, and Worf stays in the bay, watching, for a long time.

As the shuttle approaches the border and the pair make preparations, Joret tells Sito that he's doing this, not to be a traitor, but to dissuade the Cardassian government from pointless wars. "My people need peace," he adds, surprising Sito. A patrol ship approaches...

Meanwhile, Lavelle and the others wonder in Ten-Forward if Sito is on the shuttle that left. Lavelle, knowing nothing, speculates as much as he can about the occupant and the condition of the shuttle - but Ogawa and Taurik, concerned by what they do know, ask him to change the subject.

The Enterprise reaches the rendezvous point and waits for hours, with no sign of the escape pod carrying Sito back home. Despite it being a treaty violation, they send a probe in to search for the pod. What it finds, however, is debris - and debris consistent with the remains of a pod. When they later intercept a Cardassian message reporting the death of a terrorist, the truth becomes all too clear. Picard announces the death to the crew, lamenting the loss of "the finest example of a Starfleet officer."

In Ten-Forward some time later, Lavelle enters, glum. He's been promoted to the Ops position, but now has to wonder if Sito would have gotten it had she lived. The others reassure him that he should simply do his best in his new assignment, and Ben manages to convince a solitary Worf to join Sito's other friends in remembering her as she was.



47611.2 Thine Own Selff (S7E16)

Having completely lost his memory, Data is stranded on a primitive planet where the inhabitants fear he is carrying a deadly plague.

On Barkon, home to a pre-industrial society, a villager, Garvin, is talking to his daughter Gia, when suddenly both see Data walk into the village, dazed. His clothes and hair appear singed, and when he opens his mouth to speak, only a machinelike humming is heard.

... Talur, the village's resident scientist, examines Data and pronounces him fit in all respects save his memory loss. (His heartbeat, in particular, is "very regular.") As far as his odd appearance is concerned, she grants that "my grandmother would have called our friend here a demon, or a spirit, or some sort of monster - but current scientific methodology allows us to dismiss such ridiculous superstitions and concentrate on scientific reality." What is he, then? An "iceman", or so she says - from a race that lives in the mountains under very harsh conditions. As Talur leaves, Gia enters and helps Garvin pick a name for Data: "Jayden."



47618.4 Masks (S7E17)

The Enterprise has come across a rogue comet that has been traveling for 87 million years to get to its current location. A sensor scan creates a temporary but giant sensor echo, and suddenly strange things start happening: Troi finds a pedestal in her quarters, Data is inspired to sculpt a mask with a similar design, and symbols start appearing on terminals all over the ship. As Geordi discovers that the symbols have leaked in via the sensors, Data somehow intuitively recognizes many of them, and suspects his systems have also been corrupted.

The Enterprise uses main phasers to melt the icy shell off the comet, and discover a city-like structure lurking within. It is of unknown composition, and is even older than the comet itself. Data theorizes that it is a type of cultural archive, and becomes concerned enough about his own systems to have Geordi run a diagnostic. As he leaves, Picard notes the frequent occurrence of two symbols all over the ship: a compass symbol possibly denoting movement, and a small sliver of unknown meaning.



47622.1 Eye of the Beholder

Everyone is stunned when Lt. Kwan, serving in the warp nacelle tube, kills himself by jumping into a plasma discharge. It doesn't seem like an action Kwan would do, and Picard wants an explanation he can give to Kwan's parents when he informs them of the tragedy. Worf and Troi get to work on investigating the suicide. The pair search his quarters and even his personal logs, but see no evidence of any sort of strain - in fact, if anything, he appears happy and looking forward to the next days.



47653.2 Genesis

... Days later, Picard and Data return to find the Enterprise adrift and without power. They manage to enter the shuttle bay and begin exploring. After hearing a number of animal-like noises and finding what appears to be a layer of skin someone shed, they reach Troi's quarters. Entering, they find Troi in the bathtub - completely submerged, and with gills as well as lungs. Data's scans suggest that her genetic codes are being rewritten on the spot, and that she has mutated - in effect, she is now amphibian rather than human.


M. Meert (2007)

Das Geheimnis des 3. Tors - GŸnter Wand


P. Boulez,

Patrice Chereau

Richard Wagner: Die WalkŸre, Teil 1


Eckhart Schmidt (2007)

Jerry Lewis


Die Planeten: Mondlandung Hoax


Karen Ande

J. du Pre & Gerald Moore

Mji Wa Neema mit Beethoven Sonata


Constantin Costa Gavras (1989)

Music Box Teil 1


Costa Gavras

Wolfgang Staudte (1959)

Music Box Teil 2

Rosen fŸr den Staatsanwalt


Sahara (Schlamberger, 2008)

Serengeti (J. DŸcker, 1996)


Alex West, Mark Everest

Gran Canyon


Alex West (2006)

Ayers Rock


Wolfgang Katzke (2002)



Alex West (2006)



Ernst Waldemar Bauer

Wunder der Erde: Bialowicza


Ernst Waldemar Bauer

Wunder der Erde: Pamukkale


David Attenborough,

Alastair Fothergill

30 Weltwunder



Mike Birkhead, Alastair Fothergill

Mit Elefanten leben



Alastair Fothergill

Planet Erde: Wasserwelten


Stephen Koster (2002)



Dieter Schneider

Alexandrine Tinne


Francesco da Mosto (2006) BBC

Francesco's Italy: The South


Francesco da Mosto, BBC

Francesco's Italy: The Heart of Italy


Francesco da Mosto (2006) BBC

Francesco's Italy: The North


Francesco da Mosto (2006) BBC

Francesco's Italy: Umbria, Tuscany


Neil Simon

The Cheap Detective


Pierre Boulez (2006)

Mario Adorf (2004)

Proben zu Bartoks Concerto for Orchestra



Adrian Lyne (1985)

9 1/2 Wochen

mit Kim Basinger, Mickey Rourke





Brad Armstrong

Fantasy Hotel



Tony Palmer (1991)

Menuhin: A Family Portrait


Martin Ritt (1967)

The Front


Jim Jarmusch

Night on Earth: LA, NY


Stanislaw Lem, Andrei Tarkowski



Carl Zuckmayer, Helmut KŠutner (1956)

Der Hauptmann von Kšpenik


Yves Allegret (1953)

Les Orgeilleux (Die HochmŸtigen)(123')


BBCWorld (March 2007)

Question Time


Stephen Sackur (8 March 2007)

BBCWorld HARDtalk: Lee Smolin


Stephen Sackur (22 March 2007)

BBCWorld HARDtalk: Richard Lugar


Stephen Sackur (March 2007)

BBCWorld HARDtalk: Martha Kama (Kenyan Minister, Interior), Mc Erwin (South African Minister, Interior)


Stephen Sackur (March 2007)

BBCWorld HARDtalk: Rick Lazio (JP Morgan), Steve Howard (Climate Group), Janet Napoletano (Governor, Arizona) - Climate Crisis


Stephen Sackur (2007)

BBCWorld HARDtalk Extra: Alistar McGowan (2006, Actor), Gary Kasparow (2006, Chess World Champion, Russian Activist), Meles Nazer (2007, run-away Ethiopian slave)


Stephen Sackur (2007)

BBCWorld HARDtalk: James Rogers & Des Thompson - Climate Challenge #1


BBCWorld (April 2007

The World Debate: Managers in Climate Crisis - Climate Challenge: Trees. Can we save Planet Earth?


Andrew Graham Dixon (2002 BBCWorld)

Who Killed Caravaggio? (45')


Tim Sebastian, Zeinab Badawi (2002, 2005, 2006)

BBCWorld HARDtalk:

Romeo Dallair (UN Commander, Rwanda, 1993/4)

Naji Sabri (Foreign Minister, Iraq)

Meles Zenawi (Prime Minister, Ethiopia) with Stephen Sakur, 2005

F. Rose, A. Abu-Laban (Denmark, Muhammed caricatures, 2006)



Marshall/Sacks (2007)

Rilke - Awakenings (remix)


Joseph Ratzinger (2007)

Tim Sebastian (1999)

Interview: "ich bin mir selbst treu geblieben."

BBCWorld HARDtalk: Nina Simone


One Planet Pictures (2007)

Climate Challenge: The Home Front


Fred Zinnemann (1952)

High Noon


Eckhart Schmidt (2007)

Fred Zinnemann: Der Mann, der High Noon machte (Portrait)


Stephane Osmont, Sylvian Bergere (2007)

Wer hat Angst vor Google?


Matthew Broderick (1996)

Infinity: Eine Liebe fŸr die Unendlichkeit - (Young) Richard Feynman


Christopher Sykes (2005)

Richard Feynman: No Ordinary Genius


Stephen Frears (2003)

The Deal (90') -Tony Blair, Gordon Brown


Leanne Moore (1999)

Fire in the Valley - Steve Jobs, Steve Wozniak, Bill Gates


Stephen Sackur (2007)

Nich Gowing (2007)

BBCWorld: Climate Chaos (2006)

BBCWorld HARDtalk: Aleksander Lebedev

World Debate

Living with Climate Change


One Planet Pictures (2007)

Stephen Sackur (4-5 May 2007)

Climate Challenge: Doing Business

BBCHARDtalk: Jack Lang - Pierre Lellouche, Mikhail Saakashvili (Prime Minister, Georgia)


Stephen Sackur (2007)

Tim Sebastian (May 2007)

BBCWorld HARDtalk: Farouq Al-Sharaa (Vice President, Syria)

Doha Debate: Is the Dialogue stifled (?)

Earth Report (2007): GB, D, Maurizius


(May 2007)

Earth Report: GB, D, Maurizius

Climate Challenge 6: Bright Ideas

BBCWorld HARDtalk: Jonathan Bennett (NY), John Bolton & Chris Patton, Tony Benn & Lord Tebbit


Lion Feuchtwanger, Egon Monk (1981)

Die Geschwister Oppermann (2 x 120')

(am Ende jedes Teils fehlen 5 - 10 Minuten)


Ronald Neame, Joyce Cary, Alec Guinness (1958)

Des Pudels Kern (90')

Eccentric painter Gulley Jimson (Alec Guinness) is released from a one-month jail sentence for telephone harassment of his sponsor, Mr Hickson (Ernest Thesiger). Nosey Barbon (Mike Morgan), who wants to be Jimson's protégé, greets Jimson at Wormwood Scrubs, but Jimson tries to discourage Nosey from pursuing painting for a living. Jimson steals Nosey's bike to make his way back to his houseboat, which his older lady friend Coker (Kay Walsh) has been maintaining in Jimson's absence.

Jimson tries to borrow money from Hickson and Coker, but Hickson sets the police to trace the phone call. Jimson and Coker later visit Hickson to try to secure advance payment for the early Jimson works. Jimson tries to steal works from Hickson's place but Coker stops him. Hickson and his secretary call the police to have them ejected. Jimson breaks a window, and he and Coker escape via the servant's entrance.

Jimson responds to a note from A. W. Alabaster (Arthur Macrae), secretary to Sir William (Robert Coote) and Lady Beeder (Veronica Turleigh), who are interested in acquiring early Jimson works. One of the early works is in the possession of Jimson's ex-wife, Sara Monday (Renée Houston). Jimson and Coker try to secure an agreement with Sara Monday to obtain that early painting, but are unsuccessful.

When Jimson visits the Beeders, he sees a blank wall in their residence and is immediately inspired to paint "The Raising of Lazarus". He learns that the Beeders are leaving for six weeks, and takes advantage of their absence to execute the painting. An old artistic rival, Abel (Michael Gough), intrudes on Jimson to bring in a large block of marble to fulfill a sculpture commission for British Rail. Jimson pawns the Beeder's valuables, and Abel and Jimson inadvertently destroy part of the Beeder's floor when the marble is accidentally dropped. After Jimson has completed the painting, the Beeders return. Shocked by the painting, they inadvertently fall through the hole in the floor.

Jimson returns to his houseboat and finds Coker there. She was fired from her barmaid job after the press reported the incident at Hickson's residence, and she has nowhere else to live. Later that evening, she surprises Jimson with the news that Hickson is dead and that he has bequeathed his collection of Jimson's works "to the nation". Those works are displayed at the Tate Gallery, which Jimson visits. In the long line to the exhibit, Jimson sees Sara Monday. He then manoeuvres to try to recover that one early work still in her possession. She pretends to agree, and gives Jimson a roll tube. When he returns to the houseboat, however, Coker and Nosey find that the roll contains only toilet paper and not the requested painting. Nosey follows Jimson back to Sara's house. Jimson and Sara struggle over the painting and Sara falls backwards and is knocked unconscious. Jimson and Nosey escape the scene.

Jimson and Nosey seek shelter in an abandoned church. Nosey points out to Jimson a blank wall in the building. Jimson is immediately inspired to execute his largest work, "The Last Judgement". Learning that the church is to be torn down within a fortnight, Jimson, Nosey and Coker recruit local youngsters to help complete the painting. A local council official overseeing the building's demolition objects to their activities. Jimson recruits Lady Beeder to participate, in spite of the injuries he caused her. The painting is completed on the scheduled day of demolition. After the demolition crew warns everyone to stand back, a bulldozer comes crashing through the wall and destroys the painting. Jimson drove the bulldozer, feeling it necessary to destroy the work before anyone else did. As Jimson's admirers pelt the council official and demolition crew in protest, Jimson runs back to his boat and sets sail down the Thames before Nosey and Coker can stop him.


Stanley Kramer (1958)

Flucht in Ketten (Defiant Ones) (90')

Sidney Poitiers, Tony Curtis

The film starts with a truck driving at night. It swerves to miss another truck and crashes through a barrier. The rescuers clear up the debris and cover the people killed... mainly prisoners in the back. It is revealed that two are missing: a black man shackled to a white man, because "the warden had a sense of humour". They are told not to look too hard as "they will probably kill each other in the first five miles". Nevertheless a large posse and many bloodhounds are dispatched the next morning to find them.

The setting is in the American South, the men are the black Noah Cullen (Poitier) and the white John "Joker" Jackson (Curtis). Despite their mutual loathing, they are forced to cooperate, as they are chained together. At first their cooperation is motivated by self-preservation but gradually, they begin to respect and like each other.

Cullen and Joker flee through difficult terrain and weather, with a brief stop at a turpentine camp where they attempt to break into a general store, in hopes of obtaining food and tools to break the chain that holds them together. Instead, however, they are captured by the inhabitants, who form a lynch mob; they are saved only by the interference of "Big" Sam (Chaney), a man who is appalled by his neighbors' bloodthirst. Sam persuades the onlookers to lock the convicts up and turn them in the morning, but that night, he secretly releases them, after revealing to them that he is also a former chain-gang prisoner.

Finally, they run into a young boy named Billy. They make him take them to his home and his mother (Williams), whose husband has abandoned his family. The escapees are finally able to break their chains. When they spend the night there, the lonely woman is attracted to Joker and wants to run off with him. She advises Cullen to go through the swamp to reach the railroad tracks, while she and Joker drive off in her car. The men agree to split up. However, after Cullen leaves, the woman reveals that she had lied - she sent Cullen into the dangerous swamp to die to eliminate any chance he would be captured and perhaps reveal where Joker had gone. Furious, Joker runs after his friend; as he leaves, Billy shoots him.

Wounded, Joker catches up to Cullen and warns him about the swamp. As the posse led by humane Sheriff Max Muller (Bikel) gets close, the escapees can hear the dogs hot on their trail. But they also hear a train whistle and run towards the sound. Cullen hops the train and tries to lift Joker on as well, but is unable to drag him aboard. Both men tumble to the ground. Too exhausted to run anymore, they realize all they can do is wait for their pursuers. The sheriff finds Cullen singing defiantly and Joker nearly passed out in his arms.


Alan Parker (1988)

Mississipi Burning (90')

Gene Hackman

Mississippi Burning is a 1988 American drama-thriller film directed by Alan Parker and written by Chris Gerolmo. It was loosely based on the FBI investigation into the real-life murders of three civil rights workers in the U.S. state of Mississippi in 1964. The film focuses on two fictional FBI agents (portrayed by Gene Hackman and Willem Dafoe) who investigate the murders. Hackman's character (Agent Rupert Anderson) and Dafoe's character (Agent Alan Ward) are loosely based on the partnership of FBI agent John Proctor and agent Joseph Sullivan.

The story is loosely based on the real-life murders of civil rights workers in Mississippi in 1964. After the three are reported missing, two FBI agents are sent to investigate the incident in rural Jessup County, Mississippi (modeled after Neshoba County where the real murders took place). The two agents take completely different approaches: Agent Alan Ward (Dafoe), a young liberal northerner, takes a direct approach to the investigation; Agent Rupert Anderson (Hackman), a former Mississippi sheriff who understands the intricacies of race relations in the South, takes a more subtle tack.

It is very hard for the two to work in the town, as the local sheriff's office is linked to a major branch of the Ku Klux Klan, and the agents cannot talk to the local black community, due to their fear of Klan retaliation. Slowly but steadily, relations between the FBI and the local Jessup County sheriff's office deteriorate, as do relations between Ward and Anderson. Things boil over when the bodies are found and the deputy sheriff, Clinton Pell (Brad Dourif), realizes that his wife gave their locations to Anderson, and he assaults her. When Anderson sees her in the hospital, he storms off to confront Pell but is stopped by Ward. After a violent fight and battle of wills, the two agree that they will work together to bring down the Jessup County branch of the Ku Klux Klan using Anderson's as yet untried approach.

The new tactics begin when the mayor is abducted. He is taken to a remote shack and left on his own with a black man (played by Badja Djola) wearing a rudimentary mask, similar to those used by KKK members in the film. Relating a story of how a young black man was castrated by the KKK, he implies that the mayor will likewise be mutilated unless he talks, by wielding a razor blade while relating the tale. In reality, the abductor is an FBI operative specially flown in to intimidate the mayor. The mayor gives the operative a comprehensive description of the killings, including the names of those involved; although not admissible in court, this information proves invaluable.

Anderson uses the new information to send fake invitations to the involved KKK parties, who turn up for a meeting. They soon realise that it is a set up and leave without discussing the murders. The FBI, who are eavesdropping, home in on Lester Cowens, a junior member of the outfit, as being particularly nervous and unable to stop talking. He is later picked up by the FBI and driven prominently around town to make it appear that he may be cooperating with them. He then is dropped off in the black side of the segregated community to "think" about his position.

Anderson pays a visit to the barbershop where Deputy Sheriff Pell is getting a shave with a straight razor. Anderson slips in the place of the barber allowing him to ensure that Pell stays still while Anderson threatens him, nicking him with the razor. Anderson then brutally beats Pell, both for his role in the murders and his assault of his wife. Ward, waiting outside and unable to bear the ongoing beating, attempts to go in; he is stopped by the other FBI men Anderson has called in, and he silently remembers his pledge to do things Anderson's way. Pell is left spinning in a barber's chair, unconscious, as Anderson leaves.

A nervous Lester Cowens is at home when his window is shot out. On the lawn is a burning cross. Cowens tries to flee in his truck but is caught by three hooded men who begin to hang him. The FBI arrive, rescue Cowens, and chase the thugs to the sound of gunshots. Out of sight, the abductors stop running away and remove their masks to reveal that they are also FBI agents. The ruse works. Cowens, believing his life is in danger because his KKK co-conspirators think that he will talk, does just that. The FBI now has evidence admissible in court and can prosecute the culprits. They charge them with civil rights violations to ensure that they will be tried at the federal level; four of them had previously been convicted in a state court of firebombing a black man's home, only to receive five-year suspended sentences. Most are found guilty and receive sentences from three to ten years. Sheriff Stuckey is acquitted. The mayor, who was not charged with anything, hangs himself. Pell's wife returns to her home, which has been completely ransacked. She resolves to stay and rebuild her life, free of her wicked husband.

The film concludes with a Sunday morning service on the site of a destroyed house of worship, attended by both white and black churchgoers singing in unison. Ward addresses Anderson as "Rupert" for the first time.


Paul Holding (2005)

Mission to Titan (BBC Docu) (45')


Al Gore (2005)

Eine unbequeme Wahrheit (90')


Simone Reuter (2006)

Carl Zuckmayer (45')


Carl Zuckmayer, Helmut KŠutner (1954)

Des Teufels General (90', Film), 

nach dem gleichnamigen Schauspiel von Carl Zuckmayer

INTENSO#2/Filme/Des Teufels General.mp4

Deutschland im Dezember 1941. WŠhrend des Zweiten Weltkriegs sucht die FŸhrung der gefŸrchteten SS aus strategischen GrŸnden die NŠhe des berŸhmten Luftwaffengenerals Harras. Dieser ist ein erfahrener Veteran des Ersten Weltkriegs sowie passionierter Pilot. Der weltoffene, charmante Harras teilt allerdings nicht die Ideologie der NS-Diktatur und verspottet diese. Neben dem Fliegen hegt er nur AffinitŠten zu Frauen und Alkohol.

Auf einer Veranstaltung im Rahmen einer Auszeichnung fŸr Flieger lernt Harras die erst 21-jŠhrige Dorothea kennen. Die beiden fŸhlen sich sogleich zueinander hingezogen. WŠhrend derselben Feier versucht der SS-GruppenfŸhrer Schmidt-Lausitz, Harras fŸr seine Ziele zu gewinnen. Der Versuch scheitert klŠglich, General Harras weist ihn verachtungsvoll zurŸck. In der gleichen Nacht missachtet er die Warnungen seines Freundes Oderbruch, der ihm rŠt zu fliehen, da die SS ihn verhaften wolle. Harras tut die Warnungen ab und fŠhrt dennoch in seine Wohnung, wo er umgehend von der Gestapo verhaftet wird. Er wird eingesperrt und soll durch psychische Folter gefŸgig gemacht werden. Damit will die SS gleichfalls ein Exempel statuieren, auf dass sich ihr niemand mehr widersetzen mšge. Schmidt-Lausitz' Aktion ist persšnlich genehmigt und gedeckt durch Heinrich Himmler. Nach 14 Tagen Haft und anschlie§ender Freilassung ist Harras ein anderer Mann. Ihm ist nun bewusst, dass er durch seine Zeit bei der deutschen Luftwaffe einen fatalen Pakt mit dem Teufel geschlossen hat - diesen gilt es nun zu brechen. Aus diesem Grund schŸtzt er seinen Freund Oderbruch. Dieser verschweigt einen gefŠhrlichen Konstruktionsfehler an den in Erprobung stehenden Flugzeugen, damit diese nicht in den Fronteinsatz gehen kšnnen und so Hitlers Regime den Krieg verliert.

Schmidt-Lausitz versucht Harras zu zwingen, entweder den Urheber des Konstruktionsfehlers binnen zweier Stunden zu benennen oder ein RŸcktrittsgesuch von allen €mtern zu unterschreiben, was einer Selbstbezichtigung gleichkŠme. Da Harras den Urheber der Fehlkonstruktion deckt, wŸrde er zum Tode verurteilt. Daraufhin eskaliert die Situation: Mittels vorgehaltener Waffe jagt Harras Schmidt-Lausitz aus dem Raum. Doch anstatt zu fliehen, eine Fluchtmaschine steht mit laufendem Motor fŸr ihn bereit, startet er bewusst mit einer der fehlerhaften Maschinen und stŸrzt sich zu Tode in den Flughafen-Kommandostand, der in Flammen aufgeht.


Thomas Grube, Enrique Sanchez Lansch (2004)

Rhythm is it (100')

Im Februar 2003 begannen die Berliner Philharmoniker und ihr Chefdirigent Sir Simon Rattle ein Projekt mit 250 Kindern und Jugendlichen aus 25 Nationen. Nach Anleitung des Choreografen und TanzpŠdagogen Royston Maldoom proben sie die AuffŸhrung von Igor Stravinskys Ballett Le sacre du printemps.

Nur sechs Wochen Probezeit haben die SchŸler, zumeist aus Berliner "Problemschulen", von denen niemand mit klassischer Musik und Tanz vertraut ist. Maldoom hatte bis dahin schon unter anderem mit Stra§enkindern in €thiopien und mit jugendlichen Strafgefangenen in England Stravinskys Ballett erfolgreich inszeniert.[2] WŠhrend dieser Phase werden drei der jungen Menschen nŠher vorgestellt: Martin, der Schwierigkeiten hat, sich auf andere Menschen einzulassen, sie doch in den Tanzsequenzen berŸhren soll, der kaum deutsch sprechende Kriegswaise Olayinka aus Nigeria, dem die Teilnahme an dem Projekt hilft, andere Menschen kennenzulernen. Und Marie, die sich zu Beginn fŸr faul hŠlt und dann doch beschlie§t, den Realschulabschluss zu machen, wŠhrend ihre Freundin bald schon aussteigt aber an der nŠchsten Station wieder einsteigt.

Dabei zeigt der Film die Entwicklung der jungen Menschen, die aus den wachsenden Erfolgen Selbstbewusstsein ziehen und als Persšnlichkeit reifen. Er zeigt aber auch das Chaos der Proben, den unmotivierten Beginn der Jugendlichen und die Interventionen der besorgten Lehrer, die fŸrchten, ihre SchŸler wŸrden von Maldoom Ÿberfordert. Das Ende und der gro§e Hšhepunkt ist der umjubelte Auftritt in der Arena Berlin.

Das Projekt wurde aufgrund des gro§en Zuspruchs weitergefŸhrt. Die Berliner Philharmoniker setzten ihre Kooperation mit anderen BallettstŸcken und Choreografen in den folgenden Jahren fort.

 Wikipedia (english)

"Die Filmemacher Thomas Grube und Enrique Sánchez Lansch verwenden Strawinskys StŸck nicht nur als BŸhnenmusik, sie binden damit auch immer wieder Berliner Stadtbilder in die Geschichte der AuffŸhrung ein, Impressionen einer faszinierenden, zwielichtigen UrbanitŠt. Die spannendsten Momente aber zeigen Choreograph Royston Maldoom bei der Probenarbeit mit den Jugendlichen. Maldoom ist das Herz des Films: ein Zauberer, ein Alchimist der Begeisterung, der sich zu Beginn provokant als strenger Lehrmeister zu erkennen gibt."

- SŸddeutsche Zeitung [5]


Hans Werner Henze, Ingeborg Bachmann (2006)

Hans-Werner Henze - Ingeborg Bachmann


Meine liebe arme kleine Allergrš§te

Noch bevor Ingeborg Bachmann ihn im August 1953 erstmals auf der Insel Ischia besucht, verkŸndet Henze ihr brieflich sein »Credo« , das dann fast 20 Jahre lang gebetsmŸhlenartig in seinen Briefen wiederkehren wird: Nichts anderes zŠhle als die kŸnstlerische Arbeit, nur sie habe die Macht, GefŸhlschaos und verfehltes Leben in die Wahrheit einer hšheren Ordnung zu ŸberfŸhren. Was Hofmannsthal fŸr Richard Strau§ war, das soll Ingeborg Bachmann fŸr ihn werden. Sie ist es schlie§lich auch geworden, wenngleich sie auf ihrem Weg von der Ballettpantomime Der Idiot, fŸr die sie noch 1953 den - in ihren ersten Gedichtband Die gestundete Zeit mit aufgenommenen - Monolog des FŸrsten Myschkin schrieb, bis zu den luziden Libretti fŸr Henzes Opern Prinz von Homburg und Der junge Lord zumeist »Schildkrštenverhalten« an den Tag legte (so umschrieb es Henze, der oft schon ohne ihre Textvorlage »vorauskomponiert« hatte). Umgekehrt erschien ihr der Freund in seinem ungebremsten Produktionsfuror manchmal, was sie ihm nicht verschwieg, als »Monster«.

Die Zeit


Curt Goetz, Valerie von Martens (1951)

Das Haus in Montevideo (120')

Das Haus in Montevideo ist die erste Verfilmung des gleichnamigen BŸhnenstŸcks von Curt Goetz. Goetz selbst schrieb das Drehbuch und inszenierte den Film 1951 gemeinsam mit seiner Ehefrau Valérie von Martens, mit der er das StŸck oft auf der BŸhne gespielt hatte. Wie in den Jahren zuvor im Theater Ÿbernahm das Ehepaar auch die beiden Hauptrollen.

Der untadelige Professor Traugott Hermann NŠgler lebt mit seiner Frau Marianne und seinen zwšlf (nach Figuren von Richard Wagner und der griechischen Mythologie benannten) Kindern in einer spie§bŸrgerlichen Kleinstadtidylle.

Als die Šlteste Tochter Atlanta von NŠglers verstorbener Schwester ein Haus in Montevideo erbt, ist der moralisch integre Professor zunŠchst gar nicht erbaut - war seine Schwester doch das schwarze Schaf der Familie. Sie war schwanger geworden, ohne verheiratet zu sein. Doch gemeinsam mit Pastor Riesling, einem Freund der Familie, gelingt es Marianne, ihren Mann zur Reise nach Montevideo zu Ÿberreden, damit man die Erbschaft antreten kann.

In Montevideo geraten die Moralvorstellungen der NŠglers vollends ins Wanken, als sie vermuten, was fŸr ein Etablissement sich in dem Haus der Toten verbergen mšge. TatsŠchlich ist es aber kein Bordell, sondern eine Art Musikinternat. Die Verstorbene hatte als begnadete und auch geschŠftlich erfolgreiche SŠngerin Mittel genug, das Haus zu errichten und den Unterrichtsbetrieb zu bezahlen.

Allerdings ist mit der Erbschaft auch ein Betrag von 750.000 Dollar verbunden, der den Professor mit dem Lebenswandel seiner Schwester versšhnt. Doch an die Erbschaft ist eine Bedingung gebunden: In NŠglers Familie muss sich innerhalb einer bestimmten Frist die gleiche moralische Entgleisung ereignen, fŸr die er einst Ÿber seine Schwester den Stab gebrochen hatte. Professor NŠgler will seine Tochter dazu bringen, ihren Liebsten nicht zu heiraten und trotzdem schwanger zu werden, um die Bedingung des Testaments erfŸllt zu sehen. NatŸrlich stš§t dieser Plan auf všlliges UnverstŠndnis. Letzten Endes kommt ihm ein Zufall zur Hilfe.


Peter Beauvais, Siegfried Lenz (1971)

Deutschstunde (240')

Siggi Jepsen, Insasse einer Anstalt fŸr schwer erziehbare Jugendliche, bekommt in einer Deutschstunde das Aufsatzthema "Die Freuden der Pflicht" gestellt und scheitert daran: Er gibt ein leeres Heft ab. Der Grund fŸr sein Scheitern liegt jedoch darin, dass er zu diesem Thema zu viel zu sagen hat - im Arrest, der von ihm freiwillig immer weiter verlŠngert wird, schreibt Siggi nun Ÿber seine Kindheit und Jugend, die gerade unter dem Zeichen der "Pflicht" stand. Siggi Jepsens Vater war nŠmlich der "nšrdlichste Polizeiposten Deutschlands" in dem schleswig-holsteinischen Dorf RugbŸll. Jens Ole Jepsen erhŠlt 1943 von der nationalsozialistischen Obrigkeit den Auftrag, gegen den expressionistischen Maler Max Ludwig Nansen ein Malverbot auszusprechen und dieses Verbot zu Ÿberwachen. Obwohl Jepsen seit seiner Jugend mit Nansen befreundet ist und dieser ihm sogar einmal das Leben gerettet hat, kommen ihm keinerlei Zweifel an seiner Pflicht, diese Anordnungen rigoros zu befolgen. Als er seinen zu dieser Zeit zehnjŠhrigen Sohn Siggi dazu anstiften will, den Maler zu bespitzeln, bringt er ihn damit in einen Gewissenskonflikt, denn Nansens Atelier ist fŸr Siggi wie ein zweites Zuhause. Er beschlie§t, seinem Vater nicht zu gehorchen, und hilft stattdessen Nansen beim Verstecken von Bildern.

Siggis Vater ist von fanatischer PflichterfŸllung angetrieben, weniger von der nationalsozialistischen Ideologie, im Unterschied zu seiner Frau, die vollkommen vom Nationalsozialismus Ÿberzeugt ist. Als Siggis Bruder Klaas sich selbst verstŸmmelt, um nicht weiter Kriegsdienst leisten zu mŸssen, wird er von seinen Eltern versto§en - nur mit GlŸck und der Hilfe von Nansen kann er den Krieg Ÿberleben.

Selbst nach Kriegsende kommen Jens Jepsen keine Zweifel - im Gegenteil, er beharrt auf der Überzeugung, dass es weiterhin seine Pflicht sei, Nansens Bilder zu vernichten. Siggi steigert sich nun in die Vorstellung hinein, Nansens Bilder vor seinem Vater "retten" zu mŸssen. Er wird so zum Kunstdieb, was schlie§lich zu seiner Verhaftung und der Einlieferung in die Besserungsanstalt fŸhrt.


107 a - 107 c

Dominque de Rivas, Jean-Luc Bourgeois (2003)

Mein Name ist Bach


Alfred Weidenmann (1954)

Canaris (Film)

Person: Wilhelm Canaris


Carlos Saura

Carmen (105')


Alex Gibney (1990)

America in the Fifties: Beat

Kinsey-Report, Marilyn Monroe, Elvis Presley


C. Archambeau, J. Barsac (1987)

Luis Gualtieri

100 Jahre Le Corbusier, Teile 2 & 3

Un viaje con Le Corbusier: La Tourette


Pierre Boulez, Gidon Kremer, Berliner Philharmoniker (2004)

Bela Bartok: Violinkonzert


Robert Hughes (1981)

Der Schock der Moderne: (The Shock of the New)

Landschaften der Lust (Impressionismus) (45')

Unruhe in Utopia (45')


Frederic Luzy (2007)

Callas (100')


Andreas Ammer (2006)

Walter Jens (45')


Edgardo Casarinsky, Carol Weissweiler (1985)

Jean Cocteau (60')


Regina Wuiwoll (1993)

Donald Judd


Yehudi Menuhin (1981)

Music of Man: Das Pochen des Lebens


Tendenzen der 20er Jahre


Frank Beyer (1981)

Der Kšnig und sein Narr (100')


arte (1990)

Gorbatschow und die weltpolitische Wende (45')


David LaChapelle (2005)



Margarethe von Trotta (1981)

Die bleierne Zeit


Johannes Unger, Sascha Adamek (2007)

Ulrike Meinhof

Monika Berberich -M. B. redet Ÿber ihre Geschichte (1, 2), Stefan Aust, Klaus Wagenbach


Romain Goupil (2007)

Gustave Courbet: Die UrsprŸnge seiner Welt (52)


Guillermo del Toro (2006)

Pans Labyrinth


Alexander Mackendrick (1951)

The Man in the White Suit

Alec Guinness, Cecil Parker, Joan Greenwood, Michael Gough, Vida Hope, Mandy Miller



Alexander Mackendrick (1951)

Der Mann im wei§en Anzug (90')


Fred Schepisi (1994)

I.Q. - Liebe ist relativ (90')

Walter Mattau als Einstein


Mervyn LeRoy (1942)

Madame Curie (120')


Otto Preminger (1958)

Bonjour Tristesse (90')


Kurt Veth (1983)

Martinus Luther, Teil 4

Martinus Luther

Regie: Kurt Veth



Wim Wenders, Peter Handke (1987)

Himmel Ÿber Berlin (120')

Die Engel Damiel und Cassiel treten als Beobachter der Welt auf, insbesondere in Berlin. Sie kšnnen nicht in das Leben der Menschen eingreifen und sich ihnen nicht zu erkennen geben. Sie kšnnen ihnen jedoch neuen Lebensmut einflš§en. Der Wunsch, am Leben der Sterblichen teilzuhaben, wird bei Damiel so gro§, dass er dafŸr bereit ist, auf seine Unsterblichkeit zu verzichten. Mit einer antiken RitterrŸstung als Startkapital wird er in die Welt hineingeworfen. In einer TrapezkŸnstlerin, die sich scheinbar von der Erdschwere lšst, findet er seinen Gegenpart.

Die Handlung wird von Peter Handkes Gedicht Lied Vom Kindsein umrahmt


Uwe Janson (2005)

Peer Gynt (80')

"Regisseur und Drehbuchautor Uwe Janson prŠsentiert mit dem Ibsen-Klassiker nach Brechts "Baal" und Wedekinds "Lulu" erneut die Verfilmung eines TheaterstŸcks. Diesmal drehte er jedoch nicht auf der BŸhne, sondern vornehmlich im freien, hier auf der Insel Usedom. Mit starken Darstellern - allen voran Robert Stadlober als "Faust des Nordens" - und verkŸrztem Inhalt (das TheaterstŸck dauert etwa vier Stunden) beschrŠnkt sich Janson auf die gro§en Themen "Sinn des Lebens", "Liebe" und "Tod" und bricht dabei die Tragik oft mit humorvollen Szenen."

- Prisma[3]


Fatih Akin (2005)

Crossing the Bridge - The Sound of Istanbul (90')

Protagonist des dokumentarischen Werkes ist der Berliner Musiker Alexander Hacke, bekannt als Bassist der EinstŸrzenden Neubauten, den Akın bei einer musikalischen Entdeckungsreise durch die tŸrkische Metropole Istanbul begleitet. Vom Stra§enmusiker bis zum tŸrkischen Megastar fŠngt Hacke die vielfŠltigen multikulturell beeinflussten KlŠnge Istanbuls mit einem stŠndig bei sich gefŸhrten mobilen Tonstudio ein, bisweilen musiziert er auch spontan mit den tŸrkischen Musikern zusammen.

Lexikon des Internationalen Films: Das spannende Mosaik begrŸndet seine transkulturellen Thesen zwar nur oberflŠchlich, macht aber durch eine ausgefeilte Soundspur und exzellente Musiker mit einem hšchst vitalen Underground bekannt.[1]



Walter Ruttmann (1927)

Berlin - Symphonie der Gro§stadt (70')

Der dokumentarische Film beschreibt einen Tag in der Gro§stadt Berlin, die in den 1920er Jahren einen industriellen Aufschwung erlebte, und gibt auch heute noch einen Einblick in die Lebens- und ArbeitsverhŠltnisse zu dieser Zeit.

Ruttmann konzipierte seinen Film als dokumentarisches Kunstwerk, das die Gro§stadt Berlin als lebenden Organismus darstellen soll. Im langsamen Erwachen der Stadt, in der Hektik des Tages und im langsameren Ausklingen am Abend sah er eine Analogie zu einer Sinfonie und unterstrich dies im Filmschnitt. FŸr die damalige Zeit ungewšhnlich, setzte Ruttmann zahlreiche kurze Schnitte ein, um die Lebendigkeit und Hektik der Stadt plastischer werden zu lassen. Als einer der ersten sinfonischen Filme nutzte Berlin - Die Sinfonie der Gro§stadt die Ende der 1920er Jahre entwickelte technische Mšglichkeit, Filme exakt und in vielen kleinen Schnitten zu schneiden und wieder zu kleben. Auf diese Weise konnte auf die Mšglichkeiten einer abwechslungsreichen Filmmusik mit filmischen Mitteln reagiert werden - und umgekehrt



Marian Engel (2007)

leben in der stadt von morgen (90')

50 Jahre Berliner Hansaviertel

Deutschland 2007 | 97 Min

1957 fand in Berlin die erste Internationale Bauausstellung nach dem Krieg statt.
Zur Interbau 1957 vereinten sich die 64 weltweit bekanntesten Architekten der Klassischen Moderne, um in einem neuen Hansaviertel ihre Vorstellung einer "Stadt von Morgen" Wirklichkeit werden zu lassen. Unter ihnen VisionŠre wie Le Corbusier, Oskar Niemeyer, Walter Gropius und Arne Jacobsen. Sie wollten nicht nur Wohnraum fŸr die ausgebombte Bevšlkerung schaffen, sondern mit ihrer Vision einer durchgrŸnten Stadtlandschaft zur Schaffung eines neuen, freiheitlichen Menschenbildes beitragen.

Der Film zeigt die Aufbruchstimmung der 50er Jahre und wie mit der Interbau 57 Bewegung in den sozialen Wohnungsbau West-Berlins gebracht wird.
Er widmet sich dem Leben der heutigen Bewohner des Hansaviertels und fragt 50 Jahre nach Entstehen, nach dem Gelingen eines international gewŸrdigten Wohnmodells.
Findet sich der hohe, weltanschauliche Anspruch seiner Schšpfer an Fortschritt, Freiheit und Demokratie in der Lebenswirklichkeit der heutigen Bewohner wieder?

Architekten der Interbau kommen zu Wort wie der 99jŠhrige Oskar Niemeyer, heute noch lebende Zeitzeugen der Interbau 57 und viele der heutigen Bewohner des Viertels.
Sie zeigen das Hansaviertel als spannungsreiches, lebendiges Gemeinwesen im Herzen Berlins.


Felix Oehler

Berlin-Hansaviertel: Die Stadt von morgen wird 50 (90')

Leicht, heiter, wohnlich, festlich, farbig, strahlend und geborgen sollte das Viertel werden, als Berlin 1957 die besten Architekten der Welt zur Interbau aufrief. Die westliche Welt wollte einen Gegenentwurf zu den gigantischen Bauten im sowjetischen Stil der Stalinallee. Eine Stadt von morgen fŸr alle Schichten der Bevšlkerung.
Als amerikanischer Beitrag zur Interbau wuchs Ÿbrigens Mitte der 50er Jahre auch die Kongresshalle aus dem Boden des Tiergartens. Hugh Stubbins entwarf eine aufregende Konstruktion zweier auseinander geklappter Stahlbetonbšgen. Der Berliner Volksmund nannte den futuristischen Bau kurz "Schwangere Auster . Als solche machte sie Geschichte, denn legendŠre Messen und Feste gingen hier in einem halben Jahrhundert Ÿber die BŸhne.
Der Film spŸrt dem LebensgefŸhl in diesem einzigartigen Stadtviertel nach, zeigt HŠuser und Menschen, die darin wohnen und arbeiten: von den alteingesessenen Erstbeziehern bis zu den trendbewussten Neubewohnern.


Peter Rosen (2007)

Enrico Caruso


Andreas Krieger (2007)

Oscar Niemeyer wird 100 (30')


Marc-Henri Wajnberg (2000)

Oscar Niemeyer: Ein engagierter Architekt (60')


Eva-Maria Walter, Hermann Pšlking (200?)

Das Emsland 1866 - 1946: Ein Filmchronik (60')

Die FilmChronik "Das Emsland 1866-1946" erzŠhlt in historischen Filmaufnahmen von den Traditionen und naturrŠumlichen Gegebenheiten, der Erschlie§ung der Moore, der Schifffahrt auf der Ems, dem Schiffbau in Haren und Papenburg, den AnfŠngen der Industrie und dem Wandel in der Landwirtschaft. Sie zeigt die Kreise Lingen, Meppen und Aschendorf-HŸmmling wŠhrend der Nazidiktatur und das Kriegsende. Die FilmChronik endet mit dem Emslandplan und der ersten Phase seiner Umsetzung in den fŸnfziger Jahren. Die Filmaufnahmen aus privaten, staatlichen und Unternehmensarchiven spiegeln eine lebendige Geschichte in bewegenden und bewegten Bildern. Zu sehen sind weiterhin Filmsequenzen aus Rhede, den StŠdten Papenburg, Lingen, Meppen, einem Winterquartier fŸr Binnenschiffer in Haren, dem Emslandhaus der SA, sowie Bilder, die Kriegszerstšrungen und den Einmarsch der Briten und Kanadier bei Kriegsende zeigen, au§erdem die Meyerwerft, den KŸstenkanal, SchŸtzenumzŸge, u.a. in Emeln, Lengerich und in Lathen. Die historischen Aufnahmen und Kartensequenzen werden ergŠnzt durch Interviews mit den Historikern Prof. Dr. Heide Barmeyer, Dr. Helmut Lensing, Christoph Wagener M.A. und dem Leiter des Schifffahrtsmuseums Haren/Ems, Reinhard Wessels.


Fernando Meirelles, John Le Carre (2005)

The Constant Gardener (129')

Am abgelegenen Turkana-See im Norden Kenias werden die Leichen der in der Region engagierten Aktivistin Tessa Quayle und ihres einheimischen Fahrers gefunden. Tessas ReisegefŠhrte Arnold Bluhm, ein schwarzer belgischer Arzt, ist unauffindbar. Alle Spuren deuten auf ein Verbrechen aus Leidenschaft hin. Sandy Woodrow, Sir Bernard Pellegrin und andere Mitglieder der britischen Hochkommission schlie§en die Akte schnell, in der Annahme, dass Tessas Witwer, der untadelige Diplomat Justin Quayle, nichts dagegen einzuwenden hat, wenn die AffŠre um seine Ehefrau in einen Mantel des Schweigens gehŸllt wird.

Justin hatte die schšne und junge Tessa Abbott bei einem Vortrag in London kennengelernt. Das Abenteuer zwischen zwei Fremden hatte sich zu einer schnellen Heirat und einem gemeinsamen Umzug nach Kenia entwickelt. WŠhrend Tessa sich dort gemeinsam mit dem Arzt Arnold Bluhm der Probleme Afrikas annahm, lie§ der intelligente, an der britischen Botschaft in Nairobi angestellte Diplomat das Elend der Bevšlkerung nie an sich herankommen und kŸmmerte sich lieber um seinen peinlichst gepflegten Garten. Langsam wurden die Ehepartner einander fremd. Aufgefangene GesprŠchsfetzen und eine zweideutig formulierte E-Mail lie§en in Justin schlie§lich den Verdacht aufkommen, seine Ehefrau betrŸge ihn.

Die Totgeburt ihres gemeinsamen Kindes und dann Tessas gewaltsamer Tod werfen Justin aus seinen Gewohnheiten. Von Gewissensbissen getrieben und durch GerŸchte um die Untreue seiner Frau in Bewegung gebracht, stŸrzt er sich in eine gefŠhrliche Odyssee, um die Wahrheit herauszufinden. Er entdeckt, dass Tessa vor ihrem Tod einen Bericht Ÿber Verbrechen der Pharmaindustrie in Afrika hatte publik machen wollen. Sie hatte Justin jedoch die Inhalte ihrer Arbeit verheimlicht, um ihn zu schŸtzen und seine politische Karriere nicht zu gefŠhrden.

In Afrika und Europa kommt Justin schon bald der weit verzweigten Verschwšrung auf die Spur, der Tessa im Weg gewesen war: Ein gro§es Pharmaunternehmen, das in Afrika kostenlose HIV-Tests unterstŸtzt, lŠsst offenbar gleichzeitig an den Patienten ohne deren Wissen Dypraxa erproben, ein neues Mittel gegen eine erwartete Tuberkulose-Pandemie, von dem sich der Hersteller RiesenumsŠtze erhofft. Das unfertige Medikament kostete zwar zahlreiche der unfreiwilligen Testpersonen das Leben, aber so konnte Dypraxa billig und schnell optimiert werden. Die Toten wurden heimlich verscharrt und alle Unterlagen vernichtet, sodass sie offiziell nie existiert haben. Selbst Angehšrige der Verstorbenen, die Justin befragt, werden daraufhin festgenommen.

Justin reist zunŠchst nach London, wo sein Pass unter einem Vorwand einbehalten wird, um eine Weiterreise zu vereiteln. Mit falschen Papieren und unter anderem Namen, jedoch stets verfolgt, reist er weiter nach Berlin und nimmt dort Kontakt zu den Aktivisten der pharmakritischen Gruppe Hippo auf, die, wie er nun wei§, Tessa und Bluhm unterstŸtzt hatte. Bluhms Leiche wurde in Kenia mittlerweile gefunden, er war bestialisch zu Tode gefoltert worden. Justin wird massiv unter Druck gesetzt: ihm blŸhe dasselbe Schicksal, wenn er seine Nachforschungen nicht einstelle. Dennoch kehrt er auf der Suche nach den letzten offenen Fragen schlie§lich an den Ort zurŸck, an dem Tessa zu Tode gekommen war. Von dort lŠsst er Tessas Cousin einen Bericht Ÿber seine eigenen Ermittlungen sowie eine noch vorhandene Kopie von Tessas unterschlagenem Bericht zukommen. Der Film endet, als Justin am Turkana-See, in Gedanken an Tessa versunken, von einem Killerkommando aufgespŸrt wird.



Hugh Whitmore, James Bridie, Waris Hussein (1978)

Daphne Laureola

mit Laurence Olivier, Joan Plowright, Clive Arrindell, Bryant Marshall, Arthur Lowe


Wolfgang Reitherman (1967)

Jungle Book (75')

The Jungle Book is a 1967 American animated film produced by Walt Disney Productions. Inspired by the Rudyard Kipling's book of the same name, it is the 19th animated feature in the Walt Disney Animated Classics series. Directed by Wolfgang Reitherman, it was the last to be produced by Walt Disney, who died during its production. The early versions of both the screenplay and the soundtrack followed Kipling's work more closely, with a dramatic, dark, and sinister tone which Disney did not want in his family film, leading to writer Bill Peet and composer Terry Gilkyson being replaced. The casting employed famous actors and musicians Phil Harris, Sebastian Cabot, George Sanders and Louis Prima, as well as Disney regulars such as Sterling Holloway, J. Pat O'Malley and Verna Felton, and the director's son, Bruce Reitherman, as Mowgli.

The Jungle Book was released on October 18, 1967 to positive reception, with much acclaim to its soundtrack, featuring five songs by the Sherman Brothers and one by Gilkyson, "The Bare Necessities".


Frank Beyer (1989)

Der Bruch (114')


Berlin im Jahr 1946: Im kalten Winter planen der frŸhere Marinesoldat und jetzige Lebemann Walter Graf und der Kriminelle Erwin Lubowitz den Coup ihres Lebens. Sie wollen mehrere Tageseinnahmen der Reichsbahn aus dem Safe der Deutschen Verkehrs-Kredit-Bank stehlen, die normalerweise als Lohngelder ausbezahlt werden. Als Vorbereitung haben sie bereits die OberrŠume des GebŠudes gemietet und darin ein falsches ImmobilienbŸro eršffnet. So spionieren sie die Gegend aus. Da Walter keine Erfahrung hat und Erwin in der Vergangenheit immer nur als Handlanger bei gro§en Coups mitmachen durfte, sucht Erwin den alten Profi Bruno Markward auf. Der hatte bis 1945 weite Teile seines Lebens im GefŠngnis verbracht - unter anderem durch Erwins Unvermšgen und den Verrat seiner ersten, inzwischen verstorbenen Frau - und wollte sich eigentlich zur Ruhe setzen. Angesichts der hohen Geldsumme steigt er in den geplanten Bruch ein.

Das Trio versucht zunŠchst vergeblich, einen Tunnel zum Tresor zu graben. Es zeigt sich Grundwasser und der junge Bauarbeiter Bubi, der den Tunnel graben sollte, wird nach kurzer Zeit entlohnt und weggeschickt. Bubi wiederum ist mit dem jungen Julian befreundet, doch die Freundschaft wird auf die Probe gestellt, als sich beide in die Friseurin Tina verlieben. Die wiederum geht mit Walter aus und Julian sieht sie mit ihm, Erwin und dem Schieber Pinske in einer Bar. Über einige Zu- und ZwischenfŠlle wird Julian PolizeischŸler, wŠhrend Bubi indirekt am Bruch beteiligt ist. Der glŸckt schlie§lich unter Mithilfe verschiedener Personen: Bruno wei§, dass das BankgebŠude um 1943 verkŸrzt wurde, wŠhrend die TresorrŠume intakt blieben. Sie steigen nun Ÿber ein NebengebŠude direkt in den Tresorraum ein. Pinske besorgt das Schwei§gerŠt von Dombrowski, wŠhrend der Travestie-KŸnstler MŸller das Fluchtauto fŠhrt. Am nŠchsten Tag berichten die Zeitungen, dass Ÿber eine Million Reichsmark gestohlen wurden.

Obwohl Walter, Erwin und Bruno die grš§te Vorsicht walten lassen, kommt man ihnen bald auf die Schliche. Grund ist unter anderem das auf den Namen Graf und Lubowitz zugelassene ImmobilienbŸro, das sie verdŠchtig macht. Zudem erkennt Julian Lubowitz auf einem Fahndungsfoto als einen der MŠnner wieder, den er einst mit Tina in der Bar gesehen hat. Die Spur jedoch fŸhrt ins Leere, weil Erwin bereits aus seiner Wohnung ausgezogen ist. Bei der Suche nach Walter Graf kommen die Ermittler irgendwann zu Grafs Ehefrau Anita, die zwar nicht wei§, wo Walter steckt, als anonyme Tippgeberin jedoch Pinske als einen der Mitwisser verrŠt. Pinske wiederum verrŠt Dombrowski und Bruno, dessen Anteil an der Beute bald im Grab seiner ersten Ehefrau entdeckt wird. Nun gibt auch Bruno seine Tat zu und verrŠt MŸller, in dessen Bett sich Walter befindet. Bubi wiederum kann durch Julians Hilfe entkommen. Nur Erwin scheint wie vom Erdboden verschluckt. Schlie§lich ist es der junge Julian, der Erwin auf der Stra§e wiedererkennt. Obwohl dieser einen Bart trŠgt und einen falschen Pass vorweisen kann, wird er von Julian verhaftet.



Helmut KŠutner (1957)

Monpti (96')

Im Pariser Park Jardin du Luxembourg lernen sich ein junger, ungarischer Student (Horst Buchholz) und die 17-jŠhrige Anne-Claire (Romy Schneider) kennen. Sie nennt ihn Monpti - also mon petit - "mein Kleiner". Die beiden verlieben sich ineinander und verleben eine glŸckliche Zeit. Anne-Claire behauptet, Tochter eines reichen Elternhauses zu sein, aber Monpti kommt bald dahinter, dass sie tatsŠchlich aus Šrmlichen VerhŠltnissen kommt. VerŠrgert darŸber, von ihr belogen worden zu sein, gibt Monpti ihr auf der Stra§e eine Ohrfeige und lŠsst sie stehen. Als Anne-Claire seinem Taxi nachlŠuft, wird sie Ÿberfahren. Auf dem Krankenbett verspricht er, sie zu heiraten, doch Anne-Claire stirbt kurze Zeit spŠter an ihren Verletzungen.

Parallel wird die Geschichte eines zweiten Paares gezeigt, dessen Beziehung in starkem Kontrast zur Haupthandlung steht. Ausgerechnet die Frau dieses Paares ist diejenige, die Anne-Claire ŸberfŠhrt.



Elliot Silverstein (1984)

Cat Ballou (92')

Cat Ballou - HŠngen sollst Du in Wyoming ist eine US-amerikanische Westernkomšdie aus dem Jahre 1965. Regisseur Elliot Silverstein inszenierte den Film nach einem Roman von Roy Chanslor. Im Stil griechischer Chšre erzŠhlen zwei fahrende Musikanten, Nat King Cole und Stubby Kaye, die Geschichte von Catherine Ballou, die sich von einer in einem MŠdchenpensionat erzogenen jungen Dame in eine Gesetzlose verwandelt. Cat Ballou will die Mšrder ihres Vaters und deren HintermŠnner finden und ŸberfŸhren. Dazu Ÿbertritt sie mit ihren Helfern nicht nur zahlreiche Gesetze, sondern heuert auch einen abgehalfterten Revolverhelden an.



MŸnchner Lach- und Schie§gesellschaft (1963/4)

Schimpf vor 12 (1963)

Krisenslalom (1964)

Halt die Presse (1963)


Oliver Voss (202)

Walter Rathenau (45')


Andresen - Kremer (2007)

California (45')


Jonathan Halperin (2007)

Nur 1 Grad mehr (45')

Am Anfang: Al Gore in Stockholm


Richard Lester (1965)

Help! (90')


Patrice Chereau, Daniel Barenboim, MailŠnder Scala (2007)

Richard Wagner: Tristan und Isolde (2 von 3)

Schon frŸh befasste sich Chéreau auch mit dem Musiktheater, die erste Oper inszenierte er 1969. 1974 inszenierte er in Paris Les Contes d’Hoffmann von Jacques Offenbach (Dirigent Georges Prêtre). LegendŠr wurde sein Ring des Nibelungen zum 100-jŠhrigen Bestehen der Richard-Wagner-Festspiele in Bayreuth 1976 - auch bekannt als Jahrhundertring. Aufsehen erregte auch seine Lulu-Interpretation der Oper von Alban Berg 1979 in Paris (UrauffŸhrung der dreiaktigen Version von Friedrich Cerha; Dirigent Pierre Boulez).



Pierre Boulez, Patrice Chereau, Bayreuth (1976)

Richard Wagner: Die GštterdŠmmerung: 3. (letzter) Akt

Pierre Boulez, der eigentlich erst Mathematik und technische Wissenschaften studieren wollte, wurde 1943 KompositionsschŸler von Olivier Messiaen am Pariser Konservatorium und studierte dann 1945/46 bei Andrée Vaurabourg, der Gattin von Arthur Honegger, und René Leibowitz. Er war 1946 - 1956 musikalischer Leiter des Ensembles Madeleine Renaud/Jean-Louis Barrault im Théâtre Marigny. 1951 beschŠftigte er sich in der Groupe de Recherches Musicales von Pierre Schaeffer mit der Musique concrète und besuchte 1952 erstmals die Internationalen Ferienkurse fŸr Neue Musik in Darmstadt. Dort wirkte er 1955 - 1967 als Dozent und als Dirigent des DarmstŠdter Kammerensembles.

Neben Karlheinz Stockhausen und Luigi Nono gehšrt Pierre Boulez seit Mitte der 50er Jahre zu den herausragenden Vertretern der musikalischen Avantgarde, speziell der seriellen Musik. In seinen Kompositionen verbindet Boulez RationalitŠt und Logik mit den poetischen Traditionen der franzšsischen Musik, insbesondere des Impressionismus. Seine erste Schaffensphase ist von einer Šu§erst kritischen Einstellung zum eigenen Werk wie zu den Kompositionen anderer geprŠgt. So stšrte er mehrfach mit Gleichgesinnten AuffŸhrungen konservativerer Kollegen und zog zahlreiche FrŸhwerke wieder zurŸck. Aber auch spŠter hat er seine Šlteren Werke immer wieder Ÿberarbeitet, so dass sie kaum endgŸltige Form erreichen, sondern immer nur Stufen eines kompositorischen Entwicklungsprozesses darstellen.



Peter Kosminsky, Leigh Jackson (1999)

Warriors - Einsatz in Bosnien (175'), Teil 1, Teil 2

Warriors (1999) is a British television drama serial, written by Leigh Jackson, produced by Nigel Stafford-Clark and directed by Peter Kosminsky. It starred Matthew Macfadyen, Damian Lewis and Ioan Gruffudd. The music was written by Debbie Wiseman.[2][3] It was screened on BBC One.[4]

The series tells the story of a group of British peacekeepers serving in a peacekeeping operation of the UNPROFOR in Vitez, in Bosnia during the Lašva Valley ethnic cleansing in 1993.

The film emphasises the contradictions of the mandate of the peacekeepers, and the psychological trauma that they sustain while being forced to observe atrocities perpetrated against civilians without being able to intervene, and being subject to deliberate provocations against which they are unable to retaliate.

The ironic title of the programme is taken from the name of the armoured vehicle used by the British forces, the FV 510 Warrior. When it was released in the United States, the film was re-titled Peacekeepers.





Rainer Wolffhardt (1977)

Heinrich Zille (67' von 92'), Anfang fehlt


Martin Held, Christoph Felsenstein (Sohn von Walter Komische Oper Felsenstein), Ortrud Beginnen, Wolfgang Spier, Harald Juhnke, Camilla Spira, Otto Sander


Simon Schama (2006)



Simon Schama (2006)

van Gogh


Claus Kleber (2007)

Cirque du Soleil: KA (in Las Vegas)


Robert Aldrich (1965)

The Flight of the Phoenix, engl. version (142')

The Flight of the Phoenix is a 1965 American drama film starring James Stewart (as aircraft pilot Towns), produced and directed by Robert Aldrich, and based on the 1964 novel The Flight of the Phoenix by Elleston Trevor. The story describes several men struggling to survive their aircraft's emergency landing in the Sahara desert, The German passenger Dorfmann works on a radical idea: He believes they can build a new aircraft from the wreckage. Just as the water runs out, the Phoenix is completed. Dorfmann panics when four out of the seven remaining Coffman engine starter cartridges fail to start the engine and Towns wants to use one of the remaining three cartridges just to clear the engine's cylinders. Dorfmann objects, but Towns ignores him and fires one cartridge with the ignition off. The next cartridge succeeds.





Matthew Broderick (1996)

Infinity (119')

Infinity is a 1996 American biographical drama film about the early life of physicist Richard Feynman. Feynman was played by Matthew Broderick, who also directed and produced the film. Broderick's mother, Patricia Broderick, wrote the screenplay, which was based on the books Surely You're Joking, Mr. Feynman! and What Do You Care What Other People Think?, both written by Feynman and Ralph Leighton.

The film starts in 1924 with Richard and his father Melville walking through the woods where Melville shows his scientific inspiration for Richard. In 1934, Richard & Arline are in high school and their romantic relationship starts. The story then jumps to his college years and Arline getting sick with lymphatic tuberculosis. It continues to his move west to Los Alamos National Laboratory in Los Alamos, New Mexico, where Arline follows him later to a hospital in Albuquerque, New Mexico, where she dies. The film ends with Feynman crying at the sight of the red dress Arline had pointed out.



Enrique Sanches Lansch (2007)

Das Reichsorchester - die Berliner Philharmoniker und der Nationalsozialismus (90')


James B. Harris, Mark Rascovich (book) (1965)

Zwischenfall im Atlantik (The Bedford Incident)

The American destroyer USS Bedford (DLG-113) detects a Soviet submarine in the GIUK gap near the Greenland coast. (Specifically, they are in Greenland territorial waters at the entrance to the J.C. Jacobsen Fjord, which is due northwest from Iceland.) Although the U.S. and the U.S.S.R. are not at war, Captain Eric Finlander (Widmark) harries his prey mercilessly, while civilian photojournalist Ben Munceford (Poitier) and NATO naval advisor, Commodore (and ex-World War II U-boat captain) Wolfgang Schrepke (Portman), look on with mounting alarm.



Jacques Rivette (1991)

La Belle Noiseuse (nur erste HŠlfte)


Marie-Monique Robin (2008)

Die Welt nach Monsanto (138')


Arthur Laurents, Jerome Robbins, Leonard Bernstein (1961)

West Side Story


Steven Sebring (2007)

Dream of Life: Patti Smith


Marcel Neudeck (2008)

Wer ist Helmut KŠutner


Hermann Pšlking (2005?)

Das Land Oldenburg 1815 - 1946 (60'?)


Hermann Pšlking (2005?)

Die Grafschaft Bentheim 1866 - 1946 (60')


Otto Preminger (1956)

Der Mann mit dem goldenen Arm


Hermann Pšlking, Rolf Hosfeld (2005?)

Die Deutschen 1945 - 1953, 1953 - 1961, 1961 - 1972, 1972 - 1982, 1982 - 1992 (5 x 60')

Filmmaterial, das bislang nicht zu sehen war: Bilder des alltŠglichen Lebens aus allen Regionen Deutschlands, Aufnahmen von Profis und Amateurfilmern, aufgestšbert in regionalen Archiven und Unternehmen.


181, 182, 183, 184

Gruber (2008)

Dani Karavan Retrospektive (40'), Video mit den Bildern des Ausstellungskatalogs

Dani Karavan Website

In den 1990er Jahren gestaltete Dani Karavan im Bereich der GebŠude des Bundestages in Berlin den Au§enbereich der Spreeseite des Jakob-Kaiser-Hauses. Zentrales Element dieser Arbeit: In eine etwa drei Meter hohe Glaswand zwischen Jakob-Kaiser-Haus und Spree gravierte er mit Laser die 19 Grundrechtsartikel des deutschen Grundgesetzes in ihrer Urfassung von 1949. Damit werde den vorbeigehenden BŸrgerinnen und BŸrgern die Basis der deutschen Verfassung, die Grundrechte, in transparenter Weise verdeutlicht.[3] Im Duisburger Innenhafen befindet sich Karavans Garten der Erinnerung, ein etwa drei Hektar gro§er Park, in den der Bildhauer die Reste der ehemaligen Industriebauten gestalterisch integrierte. Der Park wurde in den Jahren 1996 bis 1999 realisiert und ist das bislang umfangreichste Werk des international renommierten KŸnstlers in Deutschland.

In Israel hat Karavan u.a. das Negev Brigade Monument in Be'er Scheva und das Wei§e Stadt Monument in Tel Aviv geschaffen.


In Deutschland wurde dem israelischen KŸnstler Dani Karavan eine gro§e Retrospektive gewidmet. Die Ausstellung wurde 14.3. - 1.6. 2008 im Martin-Gropius-Bau gezeigt.

Das Besondere der kŸnstlerischen Arbeit von Dani Karavan ist es, Stadt- und LandschaftsrŠume auf neue und bemerkenswerte Weise erfahrbar zu machen. Dani Karavan geht bei dieser gestalterischen Verwandlung immer von der Geschichtlichkeit des Ortes aus und entwickelt mit seinen komplexen Zeichensetzungen vielfŠltige gesellschaftliche, historische und politische BezŸge, die dem Betrachter durch eine ungewohnte und Šsthetisch hšchst verdichtete Gestaltgebung bewusst werden. Aus den Potentialen der Erinnerung transformiert Dani Karavan neue sinnliche und kommunikative ErfahrungsrŠume.

Dani Karavan wurde 1930 in Tel Aviv geboren. Er studierte zunŠchst in Tel Aviv und in Jerusalem an der Bezalel Academy of Arts. Nach einigen Jahren im Kibbuz, dem Studium der Freskotechnik 1956/57 in Florenz und der Arbeit als BŸhnenbildner fŸr Theater- und Tanzkompanien wie die berŸhmte Martha Graham Dance Company begann Dani Karavan an gro§en Environments ortsspezifisch zu arbeiten. Sein erstes Hauptwerk, das 1968 vollendete Negev-Monument in Beersheba, trug ihm internationale Anerkennung ein. In Erinnerung an den UnabhŠngigkeitskrieg Israels 1947/48 schuf er ein machtvolles, tektonisches SkulpturengefŸge, das in seiner archaischen Klarheit der streng geometrischen Formen zu einem Signal der Behauptung in der kargen WŸstenlandschaft wurde.

Art in Berlin


Peter Schamoni (1986)

Caspar David Friedrich: Grenzen der Zeit (84')

Der Maler Caspar David Friedrich ist verstorben und wird beigesetzt. Seinem Sarg folgt unter anderem der Arzt und Maler Carl Gustav Carus, der Friedrich in seinen letzten Lebensmonaten behandelt hat und dabei ein ums andere Mal dessen Misanthropie in Kauf nehmen musste.

RŸck- und Vorblenden zeigen den Umgang mit Friedrichs Werk. Zu Lebzeiten ist Friedrich als Maler nicht anerkannt, seine oft dŸsteren Bilder treffen nicht den Geschmack der Zeit. Zwar verbessert sich Friedrichs finanzielle Lage etwas, als Kronprinz Friedrich Wilhelm einige seiner Bilder kauft und auch der Dichter Wassili Schukowski mehrere Werke fŸr die russische Zarenfamilie erwirbt, doch ist auch Friedrichs Wesen seinem Erfolg wenig zutrŠglich. Mehrfach lehnt er Bildungsreisen ins Ausland ab, kann und will sich gesellschaftlich nicht unterordnen und zieht einsame Tage in der SŠchsischen Schweiz der Gesellschaft der Menschen vor. Selten geht er mit Carl Gustav Carus auf Wandertouren, auf denen beide zeichnen. Carus wiederum fŠhrt, angeregt durch Friedrichs Bilder, in den Norden Deutschlands, besucht RŸgen und Greifswald, wo das Geburtshaus von Friedrichs steht. Er protegiert den KŸnstler und versucht ihm eine Stelle als Professor an der Dresdner Kunstakademie zu verschaffen. Die Professoren jedoch verrei§en Friedrichs Werk, das jede Freude vermisse und auf dem Menschen stets abgewandt vom Betrachter in gleichfšrmigem Umriss zu sehen sind. Nach Friedrichs Tod wird sein Hausrat versteigert. Als wertvollstes StŸck gelten nicht seine Bilder, sondern ein altes Schiffsmodell.

Bilder vom Gro§feuer im MŸnchner Glaspalast werden gezeigt, bei dem mehrere Hauptwerke Friedrichs verbrannten. Bis heute hat sich nur die HŠlfte des Gesamtwerkes des Malers erhalten. Friedrich kommentiert aus dem Off, dass der Mensch von der Mitwelt nicht anerkannt werde, der die Grenzen seiner Zeit Ÿberschreitet. Er spinne sich in seinem Kokon ein und Ÿberlasse es der Zeit, was daraus werde: Eine Made oder ein Schmetterling.

Wikipedia: Caspar David Friedrich - Grenzen der Zeit

Gary Johnstone (2005)

E = m c2

Die Biographie einer Gleichung, Teil 1, Teil 2 (114')

Exactly 100 years ago, Albert Einstein grappled with the implications of his revolutionary special theory of relativity and came to a startling conclusion: mass and energy are one, related by the formula E = mc2. In "Einstein's Big Idea," NOVA dramatizes the remarkable story behind this equation.

E = mc2 was just one of several extraordinary breakthroughs that Einstein made in 1905, including the completion of his special theory of relativity, his identification of proof that atoms exist, and his explanation of the nature of light, which would win him the Nobel Prize in Physics. To honor the centenary of these achievements, 2005 has been declared the World Year of Physics by the International Union of Pure and Applied Physics.

Among Einstein's ideas, E = mc2 is by far the most famous. Yet how many people know what it really means? In a thought-provoking and engrossing docudrama, NOVA illuminates this deceptively simple formula by unraveling the story of how it came to be.

Based on David Bodanis's bestselling book E = mc2: A Biography of the World's Most Famous Equation, the program explores the lives of the men and women who helped develop the concepts behind each term in the equation: E for energy; m for mass; c for the speed of light; and 2 for "squared," the multiplication of one number by itself.

Samuel David James on YouTube



Michael Gaumnitz (2005)

Paul Klee: The Silence of the Angel (120')

Klee and Bartok: 150 Paintings in Bern

A visual journey into the work of a major painter of the 20th century by Michael Gaumnitz, an award-winning documentarian of artists and sculptors. Like Kandinsky and Delaunay, Klee revolutionized the traditional concepts of composition and color.

hipinuff on YouTube

188 189

Simon Brook (2007)

Generations 68

arte Dokumentation

Archival images are commented by an eclectic selection of artists from the cultural world, including film director Milos Forman, DJ Annie Nightingale, president Vaclav Havel, artist Ed Ruscha, photographer William Klein, actor Dennis Hopper, theatre director Peter Brook, designer Mary Quant.

Simon Brook, Filmography, Generation 68


Volker Schlšndorff (2005)

Enigma - eine uneingestandene Liebe (80')


Oliver Becker, Katharina Bruner

Dmitri Schostakowitsch: Dem kŸhlen Morgen entgegen (79')

Close up Shostakovich - a Portrait

Humour, sarcasm, grotesqueness - and not least an overriding pessimism - are characteristics not only found in Dmitry Shostakovich himself but also in his music.

The film intends to be as authentic as possible in portraying the composer, neither denouncing him as an opportunist nor praising him as a dissident. The seven chapters rather try to reconstruct how the young star composer, who renouncing the traditional was known for his grotesque distortions, became the stiff state composer most of whose life is still shrouded in mystery.

medici tv

Touching, sensitive, depth documentary about Schostakovich's troubled life under the communist dictatorship.
The movie alternates three kinds of styles: today's events (featuring interviews and scenes showing the movie director alter-ego with his collaborators), old recorded documents (mainly in black&white) dating the soviet epoch, and wonderful, dramatic reconstructions of Shostakovich's life events played by puppets (it may seems desecrating but these scenes are extremely intense in their tragical nature). Puppet scenes are just fine art, from their expressions to stage design and photography. Everything is suspended, tense, dark, like Shostakovich's music.
A delicious documentary blending historical accuracy and narration with delicate artistic taste and equilibrium.

apternier in IMDb


Loriot (1997)

Loriot als Opa Hoppenstedt und WeinverkŠufer BlŸmel (24')


Wilfried Hauke (2006)

Wilfried Hauke wurde 1957 in Kiel geboren. Er studierte Germanistik, Skandinavistik und Philosophie in Kiel, Aaarhus, Kopenhagen und Lund und promovierte mit einem Buch Ÿber die dŠnische Theaterliteratur. 1991 kam Wilfried Hauke als freier Kulturredakteur und Moderator zum NDR. Seit 1997 ist er Autor, Regisseur und Produzent fŸr Fernsehdokumentationen und Dokudramen mit Arbeiten fŸr ARD, ZDF, ARTE und NDR. Heute ist Wilfried Hauke Creative Director bei dmfilm- und tv-produktion, die Niederlassungen in Kiel, Hamburg und Bremen hat.

Nolde - Farben und Landschaft eines Malers (26')

Als sei er eben nur mal schnell zum Meer spaziert oder Farben holen gegangen - diesen Eindruck hat jeder Besucher im Haus und im Garten Emil Noldes in SeebŸll, jenem kleinen Flecken in der nšrdlichsten Ecke Deutschlands.

Es sind Bilder, die ohne die abseits gelegene Heimat Emil Noldes und die tief erlebte Landschaft nicht zu denken wŠren und die diese in immer neuen Variationen und Farbkompositionen zeigen: die Marsch und das Meer Nordfrieslands, der Kindheitsort Noldes nahe der dŠnischen Stadt Tondern, die Insel Alsen, das Dorf RutebŸll an der deutsch-dŠnischen Grenze und gleich daneben sein schleswig-holsteinischer Wohn- und Schaffensort SeebŸll.

Vor allem Noldes tiefe seelische Krisen, ausgelšst durch lange Armut und fehlende Anerkennung, haben ihn kŸnstlerisch beeinflusst und reifen lassen. Seine bedeutendsten Motive neben den PortrŠts sind bis ins hohe Alter das Meer, der Himmel und die Landschaften im Norden - sowie die Blumen in seinem Garten, die in wahren Farborgien Gestalt finden.

Nolde sieht sich als Teil einer gro§en Natur. Er spŸrt die besondere Kraft der Farben, sie sind die eigentliche Substanz seiner Bilder. Das Intellektuelle in der Kunst lehnt er ab. Er malt, mehr nicht. UnterstŸtzt wird er dabei von seiner Frau Ada, die ihn 50 Jahre lang durch Hšhen und Tiefen begleitete.

Seine fratzenhaften Menschen und DŠmonenwesen, seine gegen 1915 noch als blasphemisch eingestuften Christus- und Kreuzigungsbilder und viele seiner spŠteren von Zwergen und Elfen behausten Blumenaquarelle zeigen ein von tiefer Entwurzelung geprŠgtes Menschenbild und eine Sehnsucht nach einem fast animalischen Urzustand.

Nolde, gemeinhin der KŸnstlergruppe "BrŸcke" und den Expressionisten zugerechnet, bleibt zeit seines Lebens ein malerischer Au§enseiter. Seine gro§en Landschafts- und Mythenbilder der 20er und 30er Jahre entstehen in einer Zeit der UmwŠlzung. Mit den weltberŸhmten Blumen- und DorfgemŠlden der SpŠtphase "Dahlien und Sonnenblumen", "SchwŸler Abend", "Der gro§e GŠrtner" und "Gro§er Mohn (rot, rot, rot)" - seinem eigentlichen Hauptwerk - nimmt er die Herausforderung an, eine sich wandelnde Welt als RealitŠt und als Vision einer besseren Existenz des Menschen auf die Leinwand zu bringen.

Er versteht sich als "urdeutscher" KŸnstler, der fŸr das "Schšne und Edle kŠmpft", gegen "Überfremdung und Bevormundung". So begeistert er sich anfangs fŸr den Nationalsozialismus und wird 1934 Mitglied der "Nationalsozialistischen Arbeitsgemeinschaft Nordschleswig". Doch všllig unverstŠndlich fŸr Nolde werden 1937 knapp 30 seiner Werke in der Ausstellung "Entartete Kunst" gezeigt und Ÿber tausend seiner Bilder aus den Museen beschlagnahmt, darunter seine Hauptwerke. 1941 erhŠlt Nolde Malverbot. In der Abgeschiedenheit des SeebŸller Ateliers entstehen - trotz stŠndiger Gestapobeobachtung - heimlich die sogenannten "Ungemalten Bilder": auf schlechtem Papier und mit wenigen komplementŠren Farben gemalte Aquarelle, wie "Meer mit roter Sonne", "Tier und Frau", "Tanzende unter gro§er BlŸte". Sie zŠhlen heute zu den wichtigsten Werken Noldes.


Wilfried Hauke, Fazil Say

Remix (2006)

Nolde - Farben und Landschaft eines Malers (26')

NoldeMQ.mp4 (auch als .mov)

Fazil Say:

Black Earth - 1997 for piano solo,

'Silence Anatolia' 'Obstinacy' - 2001 pieces for piano and chamber orchestra,

Concerto 'Silk Road - 1994 for piano and chamber orchestra



Cirque du Soleil (2008)

Kooza (90')

Stéphane Roy designed Koozå's stage to evoke a public square that changes into a circus ring. The sight lines for the audience is quite grand, up to 260 degrees. The stage has one major component, a traveling tower dubbed the "bataclan." The decoration for the bataclan is inspired by Hindu culture, Pakistani buses and Indian jewelry. The large fabric structure behind the bataclan is organic in nature, as it's printed with a motif resembling the internal structure of leaves. As for the stage itself, the surface is decorated to look like the night sky. The center ring itself has a graphic representation of the night sky in Montréal the day which the show premiered.[6]



Gruber remix (2008)

Klimt with Mercan Dede

on YouTube - Mercan Dede You Tube Mix by doublemoonchannel, Halitus




Geheimnisvolle Orte in Berlin: Tempelhofer Flugplatz, Treptower Park, Olympisches Dorf (73')


Michael Sturminger (2008)

Cecilia Bartoli: Hommage an Maria Malibran (Palau de Musica Catalan a Bercelona)


Gruber (remix, 2008)

Rappaport's (2006 - 2008)

Jaqueline du Pre: Elgar, Dvorak, Violoin Concertos

BrŸckner-RŸggeberg, W, Norddeutsche Philharmonie: Bach (Air), Brandenburgisches Konzert # 2, Satz 2


Gruber (remix, 2009)

Hubble blickt in Weltall (90')

Anton Bruckner, G. Tinter: Sinfonie #3, Satz 1 (Misterioso) und S. Celibidache: 8, Satz 1 (Allegro moderato)


Charlotte Zwerin (1988)

Thelonious Monk: Straight, No Chaser


Leonard Bernstein (1975)

Gustav Mahler: Sinfonie #8, Wiener Philharmoniker


Michael Trabitzsch (2001)

Zeichnen bis zur Raserei: Der Maler Ernst-Ludwig Kirchner (84')


Peter-Michael Seiler, J. Gruber (2008)

Kirchen In Mecklenburg-Strelitz

mit Yehudi Menuhin, Phillippe Herrweghe


Penny Marshall (1990)

Awakenings (100')


Peter Prince, Barry Davis (1980)

Oppenheimer, Fahter of the Atomic Bomb (7 x 45')



Bernhard Grzimek: Ein Leben fŸr Tiere (45')


Loriot (1997)

Opa Hoppenstedt, WeinverkŠufer Blumel (60')


Larry Weinstein (2009)

Toscanini in his own words (60')


Jacob Bronowski (1969 - 1973)

The Ascent of Man

  1. Lower Than the Angels(45') Human specificity
    Man's relationship to the animals, and the specifications of his unique gifts.
  2. The Harvest of the Seasons (45') Genetic control
    The progress of social foresight, from fund-gathering to agriculture, to plant- and animal-breeding and to genetics.
  3. Adapting the Environment (45') From stone bowls to architecture
    Tools are the organs that man has developed to adapt himself to the environment, but their effect is to adapt the environment to himself - as the progress of architecture, for example, shows spectacularly.
  4. The Hidden Combinations (45') From copper to the concepts of chemical structure
    The extraction of metals opens the idea that nature can be re-shaped in invisible ways, and this leads to alchemy and on to chemical elements as a new alphabeth of nature.
  5. The Riddle of the Sphinx (45') The symbolism of numbers
    The ability of man to visualize the future and choose one course of action rather than another depends on symbolic thinking. Numbers are a powerful symbolic language, all the way from magic squares to the great classical theorems and modern computers.
  6. The Music of the Spheres (45') Descriptive astronomy
    The cyclic regularity of nature which is evident in the seasons is noted in elaborate astronomical detail on pre-historic calendars and early observations. Thus there develops (particularly in seafaring societies) the concept of regular laws of nature - but descriptive laws only.
  7. The Majestic Clockwork (45') Gravitation from Newton to Einstein
    From descriptive laws there is a subtle progress (whose chief agents are Galileo and Kepler) to the idea of a deeper law, namely a mechanism which drives the phenomena like a mainspring. And then there is a second progression to the modern idea that the phenomena are guided by the geometry of space-time itself.
  8. The Drive for Power (45') Concepts of energy and its conservation
    Machines that automate the sequence of steps in an industrial process were already invented by Leonardo da Vinci. What was not understood then (e.g. in his flying machines) was the power that a machine needs to make it effective. This is the concept that dominates the Industrial Revolution, and spurs the progress of physics in the 19th Century.
  9. The Spectrum of Information (45') The role of radiation
    The prospect of limitless nuclear energy turns our thoughts back to the problems of control, guidance and communication in general. As we approach the limits of physical control, we meet two unexpected but, it turns out, inherent obstacles to the refinement of macroscopic laws: the particulate form of energy and the statistical indeterminacy which its wave-like behavior therefore implies.
  10. What is Matter? (45') Indeas of atomic and nuclear structure
    Old as the idea of atoms is, it was still treated as a convenient chemical fiction by distinguished scientists at the beginning of this century. The picture of matter we have built up since then, including its evolution in the stars.
  11. What is Life? (45') The origin of life and the path of its evolution
    Life cannot be understood by examining the functioning of only one individual. Evolution is an essential part of the maintenance of living forms. The role of errors in the death of individuals and the evolution of species. The direction of time in the face of the second law, and the evolution of the greater complexity.
  12. Controlled Harmony (45') Mechanisms of regulation from the cell to the animal
    The genetic blueprint is tranlated into specific chemical messages in the cells, but different cells switch on different parts of the machinery. How is overall control maintained? Can we remedy defects and enzyme blocking? Is man still evolving?
  13. The Brain and the Mind (45') The unsolved question about the structure and the functioning of the brain
    The differences between the primate brain and the human brain. Speech, imagination, memory, logic, analogy, reification, consciousness, and play. A philosophy of man and nature is not soundly based unless it understands the limitations of the perceptual system and of the brain - the marvellous way the brain constructs a jigsaw of knowledge despite its coarse structure.



Norbert Buse, Thomas von Steinacker, Janos Darvas (2008)

karlheinz stockhausen: musik fŸr eine neue welt (45')


Janos Darvas, MusikFabrik Peter Rundel (2008)

Karlheinz Stockhausen: Michaels Reise um die Erde (60')


IBM Labs Almaden (2006)

1: From Brain Dynnamics to Consciousness - Gerald Edelman (1 May 2006)

2: Consciousness - Christof Koch (10 June 2006)

(zusammen: 86')


Erich KŠstner, Wolf Grimm (1980)

Fabian (95')


UC Berkeley (March 2006)

Conversations with History: Christof Koch and Harry Kreisler (50')


Yann Arthus-Bertrand (2009)

Home (engl.) (90')


F. Luft, Anna Bilger, Grit Lederer, Tbias Maier, Christine Thalmann (1965 und 2009)

Walter Gropius im GesprŠch (30')

Eperiment, Mythos, Inspiration: das bauhaus (15')

sfb-GesprŠchsreihe von Friedrich Luft (rbb-Sendung)


Ludwig Mies van der Rohe


Iossif Pasternak (2009)

Der Andersdenkende: Andrej Dmitrijewitsch Sacharow (98'), franzšsische Produktion

franzšsische Produktion

Der Physiker Andrej Dmitrijewitsch Sacharow gehšrt zu den VŠtern der sowjetischen Atombombe. Doch der Physiker war nicht blind fŸr das Gefahrenpotenzial seiner Forschungsergebnisse. Immer stŠrker engagierte er sich gegen den Einsatz von Atomwaffen und die Wahrung der Menschenrechte in seiner Heimat. Trotz einer Auszeichnung mit dem Friedensnobelpreis wurde er seiner Privilegien als Wissenschaftler beraubt und als Staatsfeind in die Verbannung geschickt.

Unmittelbar nach dem Zweiten Weltkrieg wurde Andrej Dmitrijewitsch Sacharow Mitglied einer Forschungsgruppe zur Entwicklung der sowjetischen Atomwaffen. Auch dank seiner Arbeit verfŸgte die UdSSR mit der 1953 gezŸndeten ersten Wasserstoffbombe Ÿber das Instrument zur Sicherung ihrer Position im Gleichgewicht des Schreckens. Sacharow wurde in seiner Heimat als "Vater der sowjetischen H-Bombe" mit Ehrungen ŸberhŠuft. Doch immer stŠrker beunruhigten den Physiker die Folgen seiner Arbeit fŸr die Zukunft der Menschheit, und er versuchte, auf die Gefahren des atomaren WettrŸstens aufmerksam zu machen.

Ein Teilerfolg war, dass auch sein Land 1968 den Nichtverbreitungsvertrag fŸr Atomwaffen unterzeichnete. In den 70er Jahren nutzte Sacharow sein hohes Ansehen als Wissenschaftler, um ein "Komitee zur Durchsetzung der Menschenrechte und zur Verteidigung politisch Verfolgter" zu grŸnden. Zunehmend engagierte er sich fŸr die Verteidigung von Dissidenten. Doch seine 1975 mit dem Friedensnobelpreis ausgezeichneten BemŸhungen machten ihn in der Sowjetunion zum "Staatsfeind Nummer eins". Wegen der Kritik an den Behšrden seines Landes verlor er 1979 seine Privilegien, wurde seiner €mter enthoben und nach Gorki verbannt. Dort lebte er bis 1986 unter strenger KGB-Überwachung.

Sacharows Verteidigung der Menschenrechte und der persšnlichen Freiheit machte ihn als Wissenschaftler und Politiker zu einer Symbolfigur des zeitgenšssischen Humanismus.

Seltene Archivaufnahmen und Aussagen ihm nahestehender Menschen verdeutlichen Sacharows vielschichtige Persšnlichkeit sowie die Aufrichtigkeit und Eindeutigkeit seiner Stellungnahmen.


Stephen Saunders (2006)

Fighting in the Blue

Aus heiterem Himmel: Die Royal Air Force verteidigt die Heimat

#1 Spirits in the Wind: Sir Hugh "Stuffy" Dowding (47')

#2 KŠmpferinnen (47')

#3 Piloten

#4 Feurige Herzen

(1): "Stuffy"

Sir Hugh Dowding, Oberbefehlshaber der Royal Air Force wŠhrend der entscheidenden Luftgefechte vom Sommer 1940, bildet die zentrale Figur des ersten Teils der Dokumentationsreihe. "Stuffy", so der Spitzname des ungeselligen und kompromisslosen MilitŠrs, war ma§geblich dafŸr verantwortlich, dass die Royal Air Force den Angriff der deutschen Luftwaffe abwehren konnte.

Der EinzelgŠnger war seinen Piloten sehr verbunden und nahm sie gegen Angriffe vonseiten der Politik und der Öffentlichkeit in Schutz. StŠndig verlangte Sir Hugh Dowding nach personeller VerstŠrkung und Aufstockung der militŠrischen Mittel. Auch wenn ihm Ende August 1940 das Oberkommando entzogen wurde, ist er im kollektiven britischen GedŠchtnis ein Kriegsheld und gilt als Retter Gro§britanniens.

In der britischen Gesellschaft der 40er Jahre beschrŠnkte sich wie Ÿberall in Europa das Wirkungsfeld der Frauen traditionell auf Haus und Familie. Im Krieg hŠngten jedoch einige Frauen die KŸchenschŸrze an den Nagel. Manche lie§en sich ausbilden, um in den RadarrŠumen der Royal Air Force zu arbeiten, andere standen in den RŸstungsbetrieben am Band und produzierten Waffen und Munition.

Es gab sogar einige wenige Pilotinnen, die - wenngleich zu Beginn mit Argwohn betrachtet - fŸr die ATA neue Maschinen aus der Flugzeugwerft in die MilitŠrbasen flogen.

#2 Pilotinnen

Die Frauen, die im zweiten Teil der Dokumentationsreihe zu Wort kommen, beschreiben ihr damaliges Wirken in einem mŠnnlichen und militŠrischen Umfeld und sie schildern, wie sie unter anderem lernen mussten, mit Gefahr und Todesangst umzugehen.

Im FrŸhjahr 1940 suchte die Royal Air Force hŠnderingend nach erfahrenen Piloten, um sie gegen eine scheinbare deutsche Übermacht einzusetzen: Den 750 britischen Piloten standen 2.500 deutsche gegenŸber. Grund fŸr dieses Ungleichgewicht war die herkšmmliche Pilotenausbildung in Gro§britannien, die bis zu diesem Zeitpunkt nur einer kleinen Elite offen stand. Denn traditionsgemŠ§ stammten die Royal Air Force-Piloten aus gro§bŸrgerlichen Familien, hatten eine Eliteschule abgeschlossen und sich dann fŸr die MilitŠrlaufbahn entschieden. Doch in jener kritischen Zeit erwies sich diese Rekrutierung als unzureichend.

Die Royal Air Force sah sich gezwungen, Piloten aus dem Commonwealth (Indien, Kanada und anderen ÜberseelŠndern) und aus europŠischen Widerstandsbewegungen - insbesondere aus Polen - einzustellen. Da diese Piloten nicht immer die englische Sprache beherrschten, kam es zuweilen zu MissverstŠndnissen, abgesehen davon, dass sie wŠhrend des Fluges nicht immer die befohlene "Funkstille" wahrten ...



Gerald Caillat, Alain Jaubert (2010)

L'Art de Copin: Garrick Ohlson's Chopin

J.M William Turner: Les poissons volonts (54')


Andreas Morell (2010)

Tzimon Barto: Mein Chopin (45')

Doppelportrait: Barto und Chopin


C. Archambeau, J. Barsac (1987)

L. Gualtieri (2009)

100 Jahre Le Corbusier, Teile 2 und 3 (2 x 45')

Un viaje con Le Corbusier: La Tourette


SchŠtze der Welt - Erbe der Menschheit:

(1) Tel Aviv: Erich Mendelsohn

(2) Haus Tugendhat: Ludwig Mies van der Rohe


ARD, YouTube (2008/9)

Obama in Berlin (24.7.2008)

German Watch: Die Rechnung

IPCC Copenhagen: Schwarzenegger, Prince Charles


Michel Follin (2009)

Christoph Post (2007)


bodytalk: Polina Semionova


C. Post (2007)

bodytalk: Lateinamerikanische Tanze (Oxana Lebedew)


Joshua Bell (2007)

Gene Weingarten

Pearls Before Breakfast

Beethoven Violin Concerto at L'Enfant Plaza Subway Station

Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out.

By Gene Weingarten

Washington Post Staff Writer

Sunday, April 8, 2007

It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant.

Each passerby had a quick choice to make, one familiar to commuters in any urban area where the occasional street performer is part of the cityscape: Do you stop and listen? Do you hurry past with a blend of guilt and irritation, aware of your cupidity but annoyed by the unbidden demand on your time and your wallet? Do you throw in a buck, just to be polite? Does your decision change if he's really bad? What if he's really good? Do you have time for beauty? Shouldn't you? What's the moral mathematics of the moment?

On that Friday in January, those private questions would be answered in an unusually public way. No one knew it, but the fiddler standing against a bare wall outside the Metro in an indoor arcade at the top of the escalators was one of the finest classical musicians in the world, playing some of the most elegant music ever written on one of the most valuable violins ever made. His performance was arranged by The Washington Post as an experiment in context, perception and priorities -- as well as an unblinking assessment of public taste: In a banal setting at an inconvenient time, would beauty transcend?

The musician did not play popular tunes whose familiarity alone might have drawn interest. That was not the test. These were masterpieces that have endured for centuries on their brilliance alone, soaring music befitting the grandeur of cathedrals and concert halls.

The acoustics proved surprisingly kind. Though the arcade is of utilitarian design, a buffer between the Metro escalator and the outdoors, it somehow caught the sound and bounced it back round and resonant. The violin is an instrument that is said to be much like the human voice, and in this musician's masterly hands, it sobbed and laughed and sang -- ecstatic, sorrowful, importuning, adoring, flirtatious, castigating, playful, romancing, merry, triumphal, sumptuous.

So, what do you think happened?


Leonard Slatkin, music director of the National Symphony Orchestra, was asked the same question. What did he think would occur, hypothetically, if one of the world's great violinists had performed incognito before a traveling rush-hour audience of 1,000-odd people?

"Let's assume," Slatkin said, "that he is not recognized and just taken for granted as a street musician . . . Still, I don't think that if he's really good, he's going to go unnoticed. He'd get a larger audience in Europe . . . but, okay, out of 1,000 people, my guess is there might be 35 or 40 who will recognize the quality for what it is. Maybe 75 to 100 will stop and spend some time listening."

So, a crowd would gather?

"Oh, yes."

And how much will he make?

"About $150."

Thanks, Maestro. As it happens, this is not hypothetical. It really happened.

"How'd I do?"

We'll tell you in a minute.

"Well, who was the musician?"

Joshua Bell.


A onetime child prodigy, at 39 Joshua Bell has arrived as an internationally acclaimed virtuoso. Three days before he appeared at the Metro station, Bell had filled the house at Boston's stately Symphony Hall, where merely pretty good seats went for $100. Two weeks later, at the Music Center at Strathmore, in North Bethesda, he would play to a standing-room-only audience so respectful of his artistry that they stifled their coughs until the silence between movements. But on that Friday in January, Joshua Bell was just another mendicant, competing for the attention of busy people on their way to work.

Bell was first pitched this idea shortly before Christmas, over coffee at a sandwich shop on Capitol Hill. A New Yorker, he was in town to perform at the Library of Congress and to visit the library's vaults to examine an unusual treasure: an 18th-century violin that once belonged to the great Austrian-born virtuoso and composer Fritz Kreisler. The curators invited Bell to play it; good sound, still.

"Here's what I'm thinking," Bell confided, as he sipped his coffee. "I'm thinking that I could do a tour where I'd play Kreisler's music . . ."

He smiled.

". . . on Kreisler's violin."

It was a snazzy, sequined idea -- part inspiration and part gimmick -- and it was typical of Bell, who has unapologetically embraced showmanship even as his concert career has become more and more august. He's soloed with the finest orchestras here and abroad, but he's also appeared on "Sesame Street," done late-night talk TV and performed in feature films. That was Bell playing the soundtrack on the 1998 movie "The Red Violin." (He body-doubled, too, playing to a naked Greta Scacchi.) As composer John Corigliano accepted the Oscar for Best Original Dramatic Score, he credited Bell, who, he said, "plays like a god."

When Bell was asked if he'd be willing to don street clothes and perform at rush hour, he said:

"Uh, a stunt?"

Well, yes. A stunt. Would he think it . . . unseemly?

Bell drained his cup.

"Sounds like fun," he said.

Bell's a heartthrob. Tall and handsome, he's got a Donny Osmond-like dose of the cutes, and, onstage, cute elides into hott. When he performs, he is usually the only man under the lights who is not in white tie and tails -- he walks out to a standing O, looking like Zorro, in black pants and an untucked black dress shirt, shirttail dangling. That cute Beatles-style mop top is also a strategic asset: Because his technique is full of body -- athletic and passionate -- he's almost dancing with the instrument, and his hair flies.

He's single and straight, a fact not lost on some of his fans. In Boston, as he performed Max Bruch's dour Violin Concerto in G Minor, the very few young women in the audience nearly disappeared in the deep sea of silver heads. But seemingly every single one of them -- a distillate of the young and pretty -- coalesced at the stage door after the performance, seeking an autograph. It's like that always, with Bell.

Bell's been accepting over-the-top accolades since puberty: Interview magazine once said his playing "does nothing less than tell human beings why they bother to live." He's learned to field these things graciously, with a bashful duck of the head and a modified "pshaw."

For this incognito performance, Bell had only one condition for participating. The event had been described to him as a test of whether, in an incongruous context, ordinary people would recognize genius. His condition: "I'm not comfortable if you call this genius." "Genius" is an overused word, he said: It can be applied to some of the composers whose work he plays, but not to him. His skills are largely interpretive, he said, and to imply otherwise would be unseemly and inaccurate.

It was an interesting request, and under the circumstances, one that will be honored. The word will not again appear in this article.

It would be breaking no rules, however, to note that the term in question, particularly as applied in the field of music, refers to a congenital brilliance -- an elite, innate, preternatural ability that manifests itself early, and often in dramatic fashion.

One biographically intriguing fact about Bell is that he got his first music lessons when he was a 4-year-old in Bloomington, Ind. His parents, both psychologists, decided formal training might be a good idea after they saw that their son had strung rubber bands across his dresser drawers and was replicating classical tunes by ear, moving drawers in and out to vary the pitch.

TO GET TO THE METRO FROM HIS HOTEL, a distance of three blocks, Bell took a taxi. He's neither lame nor lazy: He did it for his violin.

Bell always performs on the same instrument, and he ruled out using another for this gig. Called the Gibson ex Huberman, it was handcrafted in 1713 by Antonio Stradivari during the Italian master's "golden period," toward the end of his career, when he had access to the finest spruce, maple and willow, and when his technique had been refined to perfection.

"Our knowledge of acoustics is still incomplete," Bell said, "but he, he just . . . knew."

Bell doesn't mention Stradivari by name. Just "he." When the violinist shows his Strad to people, he holds the instrument gingerly by its neck, resting it on a knee. "He made this to perfect thickness at all parts," Bell says, pivoting it. "If you shaved off a millimeter of wood at any point, it would totally imbalance the sound." No violins sound as wonderful as Strads from the 1710s, still.

The front of Bell's violin is in nearly perfect condition, with a deep, rich grain and luster. The back is a mess, its dark reddish finish bleeding away into a flatter, lighter shade and finally, in one section, to bare wood.

"This has never been refinished," Bell said. "That's his original varnish. People attribute aspects of the sound to the varnish. Each maker had his own secret formula." Stradivari is thought to have made his from an ingeniously balanced cocktail of honey, egg whites and gum arabic from sub-Saharan trees.

Like the instrument in "The Red Violin," this one has a past filled with mystery and malice. Twice, it was stolen from its illustrious prior owner, the Polish virtuoso Bronislaw Huberman. The first time, in 1919, it disappeared from Huberman's hotel room in Vienna but was quickly returned. The second time, nearly 20 years later, it was pinched from his dressing room in Carnegie Hall. He never got it back. It was not until 1985 that the thief -- a minor New York violinist -- made a deathbed confession to his wife, and produced the instrument.

Bell bought it a few years ago. He had to sell his own Strad and borrow much of the rest. The price tag was reported to be about $3.5 million.

All of which is a long explanation for why, in the early morning chill of a day in January, Josh Bell took a three-block cab ride to the Orange Line, and rode one stop to L'Enfant.

AS METRO STATIONS GO, L'ENFANT PLAZA IS MORE PLEBEIAN THAN MOST. Even before you arrive, it gets no respect. Metro conductors never seem to get it right: "Leh-fahn." "Layfont." "El'phant."

At the top of the escalators are a shoeshine stand and a busy kiosk that sells newspapers, lottery tickets and a wallfull of magazines with titles such as Mammazons and Girls of Barely Legal. The skin mags move, but it's that lottery ticket dispenser that stays the busiest, with customers queuing up for Daily 6 lotto and Powerball and the ultimate suckers' bait, those pamphlets that sell random number combinations purporting to be "hot." They sell briskly. There's also a quick-check machine to slide in your lotto ticket, post-drawing, to see if you've won. Beneath it is a forlorn pile of crumpled slips.

On Friday, January 12, the people waiting in the lottery line looking for a long shot would get a lucky break -- a free, close-up ticket to a concert by one of the world's most famous musicians -- but only if they were of a mind to take note.

Bell decided to begin with "Chaconne" from Johann Sebastian Bach's Partita No. 2 in D Minor. Bell calls it "not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It's a spiritually powerful piece, emotionally powerful, structurally perfect. Plus, it was written for a solo violin, so I won't be cheating with some half-assed version."

Bell didn't say it, but Bach's "Chaconne" is also considered one of the most difficult violin pieces to master. Many try; few succeed. It's exhaustingly long -- 14 minutes -- and consists entirely of a single, succinct musical progression repeated in dozens of variations to create a dauntingly complex architecture of sound. Composed around 1720, on the eve of the European Enlightenment, it is said to be a celebration of the breadth of human possibility.

If Bell's encomium to "Chaconne" seems overly effusive, consider this from the 19th-century composer Johannes Brahms, in a letter to Clara Schumann: "On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind."

So, that's the piece Bell started with.

He'd clearly meant it when he promised not to cheap out this performance: He played with acrobatic enthusiasm, his body leaning into the music and arching on tiptoes at the high notes. The sound was nearly symphonic, carrying to all parts of the homely arcade as the pedestrian traffic filed past.

Three minutes went by before something happened. Sixty-three people had already passed when, finally, there was a breakthrough of sorts. A middle-age man altered his gait for a split second, turning his head to notice that there seemed to be some guy playing music. Yes, the man kept walking, but it was something.

A half-minute later, Bell got his first donation. A woman threw in a buck and scooted off. It was not until six minutes into the performance that someone actually stood against a wall, and listened.

Things never got much better. In the three-quarters of an hour that Joshua Bell played, seven people stopped what they were doing to hang around and take in the performance, at least for a minute. Twenty-seven gave money, most of them on the run -- for a total of $32 and change. That leaves the 1,070 people who hurried by, oblivious, many only three feet away, few even turning to look.

No, Mr. Slatkin, there was never a crowd, not even for a second.

It was all videotaped by a hidden camera. You can play the recording once or 15 times, and it never gets any easier to watch. Try speeding it up, and it becomes one of those herky-jerky World War I-era silent newsreels. The people scurry by in comical little hops and starts, cups of coffee in their hands, cellphones at their ears, ID tags slapping at their bellies, a grim danse macabre to indifference, inertia and the dingy, gray rush of modernity.

Even at this accelerated pace, though, the fiddler's movements remain fluid and graceful; he seems so apart from his audience -- unseen, unheard, otherworldly -- that you find yourself thinking that he's not really there. A ghost.

Only then do you see it: He is the one who is real. They are the ghosts.


It's an old epistemological debate, older, actually, than the koan about the tree in the forest. Plato weighed in on it, and philosophers for two millennia afterward: What is beauty? Is it a measurable fact (Gottfried Leibniz), or merely an opinion (David Hume), or is it a little of each, colored by the immediate state of mind of the observer (Immanuel Kant)?

We'll go with Kant, because he's obviously right, and because he brings us pretty directly to Joshua Bell, sitting there in a hotel restaurant, picking at his breakfast, wryly trying to figure out what the hell had just happened back there at the Metro.

"At the beginning," Bell says, "I was just concentrating on playing the music. I wasn't really watching what was happening around me . . ."

Playing the violin looks all-consuming, mentally and physically, but Bell says that for him the mechanics of it are partly second nature, cemented by practice and muscle memory: It's like a juggler, he says, who can keep those balls in play while interacting with a crowd. What he's mostly thinking about as he plays, Bell says, is capturing emotion as a narrative: "When you play a violin piece, you are a storyteller, and you're telling a story."

With "Chaconne," the opening is filled with a building sense of awe. That kept him busy for a while. Eventually, though, he began to steal a sidelong glance.

"It was a strange feeling, that people were actually, ah . . ."

The word doesn't come easily.

". . . ignoring me."

Bell is laughing. It's at himself.

"At a music hall, I'll get upset if someone coughs or if someone's cellphone goes off. But here, my expectations quickly diminished. I started to appreciate any acknowledgment, even a slight glance up. I was oddly grateful when someone threw in a dollar instead of change." This is from a man whose talents can command $1,000 a minute.

Before he began, Bell hadn't known what to expect. What he does know is that, for some reason, he was nervous.

"It wasn't exactly stage fright, but there were butterflies," he says. "I was stressing a little."

Bell has played, literally, before crowned heads of Europe. Why the anxiety at the Washington Metro?

"When you play for ticket-holders," Bell explains, "you are already validated. I have no sense that I need to be accepted. I'm already accepted. Here, there was this thought: What if they don't like me? What if they resent my presence . . ."

He was, in short, art without a frame. Which, it turns out, may have a lot to do with what happened -- or, more precisely, what didn't happen -- on January 12.

MARK LEITHAUSER HAS HELD IN HIS HANDS MORE GREAT WORKS OF ART THAN ANY KING OR POPE OR MEDICI EVER DID. A senior curator at the National Gallery, he oversees the framing of the paintings. Leithauser thinks he has some idea of what happened at that Metro station.

"Let's say I took one of our more abstract masterpieces, say an Ellsworth Kelly, and removed it from its frame, marched it down the 52 steps that people walk up to get to the National Gallery, past the giant columns, and brought it into a restaurant. It's a $5 million painting. And it's one of those restaurants where there are pieces of original art for sale, by some industrious kids from the Corcoran School, and I hang that Kelly on the wall with a price tag of $150. No one is going to notice it. An art curator might look up and say: 'Hey, that looks a little like an Ellsworth Kelly. Please pass the salt.'"

Leithauser's point is that we shouldn't be too ready to label the Metro passersby unsophisticated boobs. Context matters.

Kant said the same thing. He took beauty seriously: In his Critique of Aesthetic Judgment, Kant argued that one's ability to appreciate beauty is related to one's ability to make moral judgments. But there was a caveat. Paul Guyer of the University of Pennsylvania, one of America's most prominent Kantian scholars, says the 18th-century German philosopher felt that to properly appreciate beauty, the viewing conditions must be optimal.

"Optimal," Guyer said, "doesn't mean heading to work, focusing on your report to the boss, maybe your shoes don't fit right."

So, if Kant had been at the Metro watching as Joshua Bell play to a thousand unimpressed passersby?

"He would have inferred about them," Guyer said, "absolutely nothing."

And that's that.

Except it isn't. To really understand what happened, you have to rewind that video and play it back from the beginning, from the moment Bell's bow first touched the strings.

White guy, khakis, leather jacket, briefcase. Early 30s. John David Mortensen is on the final leg of his daily bus-to-Metro commute from Reston. He's heading up the escalator. It's a long ride -- 1 minute and 15 seconds if you don't walk. So, like most everyone who passes Bell this day, Mortensen gets a good earful of music before he has his first look at the musician. Like most of them, he notes that it sounds pretty good. But like very few of them, when he gets to the top, he doesn't race past as though Bell were some nuisance to be avoided. Mortensen is that first person to stop, that guy at the six-minute mark.

It's not that he has nothing else to do. He's a project manager for an international program at the Department of Energy; on this day, Mortensen has to participate in a monthly budget exercise, not the most exciting part of his job: "You review the past month's expenditures," he says, "forecast spending for the next month, if you have X dollars, where will it go, that sort of thing."

On the video, you can see Mortensen get off the escalator and look around. He locates the violinist, stops, walks away but then is drawn back. He checks the time on his cellphone -- he's three minutes early for work -- then settles against a wall to listen.

Mortensen doesn't know classical music at all; classic rock is as close as he comes. But there's something about what he's hearing that he really likes.

As it happens, he's arrived at the moment that Bell slides into the second section of "Chaconne." ("It's the point," Bell says, "where it moves from a darker, minor key into a major key. There's a religious, exalted feeling to it.") The violinist's bow begins to dance; the music becomes upbeat, playful, theatrical, big.

Mortensen doesn't know about major or minor keys: "Whatever it was," he says, "it made me feel at peace."

So, for the first time in his life, Mortensen lingers to listen to a street musician. He stays his allotted three minutes as 94 more people pass briskly by. When he leaves to help plan contingency budgets for the Department of Energy, there's another first. For the first time in his life, not quite knowing what had just happened but sensing it was special, John David Mortensen gives a street musician money.

THERE ARE SIX MOMENTS IN THE VIDEO THAT BELL FINDS PARTICULARLY PAINFUL TO RELIVE: "The awkward times," he calls them. It's what happens right after each piece ends: nothing. The music stops. The same people who hadn't noticed him playing don't notice that he has finished. No applause, no acknowledgment. So Bell just saws out a small, nervous chord -- the embarrassed musician's equivalent of, "Er, okay, moving right along . . ." -- and begins the next piece.

After "Chaconne," it is Franz Schubert's "Ave Maria," which surprised some music critics when it debuted in 1825: Schubert seldom showed religious feeling in his compositions, yet "Ave Maria" is a breathtaking work of adoration of the Virgin Mary. What was with the sudden piety? Schubert dryly answered: "I think this is due to the fact that I never forced devotion in myself and never compose hymns or prayers of that kind unless it overcomes me unawares; but then it is usually the right and true devotion." This musical prayer became among the most familiar and enduring religious pieces in history.

A couple of minutes into it, something revealing happens. A woman and her preschooler emerge from the escalator. The woman is walking briskly and, therefore, so is the child. She's got his hand.

"I had a time crunch," recalls Sheron Parker, an IT director for a federal agency. "I had an 8:30 training class, and first I had to rush Evvie off to his teacher, then rush back to work, then to the training facility in the basement."

Evvie is her son, Evan. Evan is 3.

You can see Evan clearly on the video. He's the cute black kid in the parka who keeps twisting around to look at Joshua Bell, as he is being propelled toward the door.

"There was a musician," Parker says, "and my son was intrigued. He wanted to pull over and listen, but I was rushed for time."

So Parker does what she has to do. She deftly moves her body between Evan's and Bell's, cutting off her son's line of sight. As they exit the arcade, Evan can still be seen craning to look. When Parker is told what she walked out on, she laughs.

"Evan is very smart!"

The poet Billy Collins once laughingly observed that all babies are born with a knowledge of poetry, because the lub-dub of the mother's heart is in iambic meter. Then, Collins said, life slowly starts to choke the poetry out of us. It may be true with music, too.

There was no ethnic or demographic pattern to distinguish the people who stayed to watch Bell, or the ones who gave money, from that vast majority who hurried on past, unheeding. Whites, blacks and Asians, young and old, men and women, were represented in all three groups. But the behavior of one demographic remained absolutely consistent. Every single time a child walked past, he or she tried to stop and watch. And every single time, a parent scooted the kid away.

IF THERE WAS ONE PERSON ON THAT DAY WHO WAS TOO BUSY TO PAY ATTENTION TO THE VIOLINIST, it was George Tindley. Tindley wasn't hurrying to get to work. He was at work.

The glass doors through which most people exit the L'Enfant station lead into an indoor shopping mall, from which there are exits to the street and elevators to office buildings. The first store in the mall is an Au Bon Pain, the croissant and coffee shop where Tindley, in his 40s, works in a white uniform busing the tables, restocking the salt and pepper packets, taking out the garbage. Tindley labors under the watchful eye of his bosses, and he's supposed to be hopping, and he was.

But every minute or so, as though drawn by something not entirely within his control, Tindley would walk to the very edge of the Au Bon Pain property, keeping his toes inside the line, still on the job. Then he'd lean forward, as far out into the hallway as he could, watching the fiddler on the other side of the glass doors. The foot traffic was steady, so the doors were usually open. The sound came through pretty well.

"You could tell in one second that this guy was good, that he was clearly a professional," Tindley says. He plays the guitar, loves the sound of strings, and has no respect for a certain kind of musician.

"Most people, they play music; they don't feel it," Tindley says. "Well, that man was feeling it. That man was moving. Moving into the sound."

A hundred feet away, across the arcade, was the lottery line, sometimes five or six people long. They had a much better view of Bell than Tindley did, if they had just turned around. But no one did. Not in the entire 43 minutes. They just shuffled forward toward that machine spitting out numbers. Eyes on the prize.

J.T. Tillman was in that line. A computer specialist for the Department of Housing and Urban Development, he remembers every single number he played that day -- 10 of them, $2 apiece, for a total of $20. He doesn't recall what the violinist was playing, though. He says it sounded like generic classical music, the kind the ship's band was playing in "Titanic," before the iceberg.

"I didn't think nothing of it," Tillman says, "just a guy trying to make a couple of bucks." Tillman would have given him one or two, he said, but he spent all his cash on lotto.

When he is told that he stiffed one of the best musicians in the world, he laughs.

"Is he ever going to play around here again?"

"Yeah, but you're going to have to pay a lot to hear him."


Tillman didn't win the lottery, either.

BELL ENDS "AVE MARIA" TO ANOTHER THUNDEROUS SILENCE, plays Manuel Ponce's sentimental "Estrellita," then a piece by Jules Massenet, and then begins a Bach gavotte, a joyful, frolicsome, lyrical dance. It's got an Old World delicacy to it; you can imagine it entertaining bewigged dancers at a Versailles ball, or -- in a lute, fiddle and fife version -- the boot-kicking peasants of a Pieter Bruegel painting.

Watching the video weeks later, Bell finds himself mystified by one thing only. He understands why he's not drawing a crowd, in the rush of a morning workday. But: "I'm surprised at the number of people who don't pay attention at all, as if I'm invisible. Because, you know what? I'm makin' a lot of noise!"

He is. You don't need to know music at all to appreciate the simple fact that there's a guy there, playing a violin that's throwing out a whole bucket of sound; at times, Bell's bowing is so intricate that you seem to be hearing two instruments playing in harmony. So those head-forward, quick-stepping passersby are a remarkable phenomenon.

Bell wonders whether their inattention may be deliberate: If you don't take visible note of the musician, you don't have to feel guilty about not forking over money; you're not complicit in a rip-off.

It may be true, but no one gave that explanation. People just said they were busy, had other things on their mind. Some who were on cellphones spoke louder as they passed Bell, to compete with that infernal racket.

And then there was Calvin Myint. Myint works for the General Services Administration. He got to the top of the escalator, turned right and headed out a door to the street. A few hours later, he had no memory that there had been a musician anywhere in sight.

"Where was he, in relation to me?"

"About four feet away."


There's nothing wrong with Myint's hearing. He had buds in his ear. He was listening to his iPod.

For many of us, the explosion in technology has perversely limited, not expanded, our exposure to new experiences. Increasingly, we get our news from sources that think as we already do. And with iPods, we hear what we already know; we program our own playlists.

The song that Calvin Myint was listening to was "Just Like Heaven," by the British rock band The Cure. It's a terrific song, actually. The meaning is a little opaque, and the Web is filled with earnest efforts to deconstruct it. Many are far-fetched, but some are right on point: It's about a tragic emotional disconnect. A man has found the woman of his dreams but can't express the depth of his feeling for her until she's gone. It's about failing to see the beauty of what's plainly in front of your eyes.

"YES, I SAW THE VIOLINIST," Jackie Hessian says, "but nothing about him struck me as much of anything."

You couldn't tell that by watching her. Hessian was one of those people who gave Bell a long, hard look before walking on. It turns out that she wasn't noticing the music at all.

"I really didn't hear that much," she said. "I was just trying to figure out what he was doing there, how does this work for him, can he make much money, would it be better to start with some money in the case, or for it to be empty, so people feel sorry for you? I was analyzing it financially."

What do you do, Jackie?

"I'm a lawyer in labor relations with the United States Postal Service. I just negotiated a national contract."

THE BEST SEATS IN THE HOUSE WERE UPHOLSTERED. In the balcony, more or less. On that day, for $5, you'd get a lot more than just a nice shine on your shoes.

Only one person occupied one of those seats when Bell played. Terence Holmes is a consultant for the Department of Transportation, and he liked the music just fine, but it was really about a shoeshine: "My father told me never to wear a suit with your shoes not cleaned and shined."

Holmes wears suits often, so he is up in that perch a lot, and he's got a good relationship with the shoeshine lady. Holmes is a good tipper and a good talker, which is a skill that came in handy that day. The shoeshine lady was upset about something, and the music got her more upset. She complained, Holmes said, that the music was too loud, and he tried to calm her down.

Edna Souza is from Brazil. She's been shining shoes at L'Enfant Plaza for six years, and she's had her fill of street musicians there; when they play, she can't hear her customers, and that's bad for business. So she fights.

Souza points to the dividing line between the Metro property, at the top of the escalator, and the arcade, which is under control of the management company that runs the mall. Sometimes, Souza says, a musician will stand on the Metro side, sometimes on the mall side. Either way, she's got him. On her speed dial, she has phone numbers for both the mall cops and the Metro cops. The musicians seldom last long.

What about Joshua Bell?

He was too loud, too, Souza says. Then she looks down at her rag, sniffs. She hates to say anything positive about these damned musicians, but: "He was pretty good, that guy. It was the first time I didn't call the police."

Souza was surprised to learn he was a famous musician, but not that people rushed blindly by him. That, she said, was predictable. "If something like this happened in Brazil, everyone would stand around to see. Not here."

Souza nods sourly toward a spot near the top of the escalator: "Couple of years ago, a homeless guy died right there. He just lay down there and died. The police came, an ambulance came, and no one even stopped to see or slowed down to look.

"People walk up the escalator, they look straight ahead. Mind your own business, eyes forward. Everyone is stressed. Do you know what I mean?"

What is this life if, full of care,

We have no time to stand and stare.

-- from "Leisure," by W.H. Davies

Let's say Kant is right. Let's accept that we can't look at what happened on January 12 and make any judgment whatever about people's sophistication or their ability to appreciate beauty. But what about their ability to appreciate life?

We're busy. Americans have been busy, as a people, since at least 1831, when a young French sociologist named Alexis de Tocqueville visited the States and found himself impressed, bemused and slightly dismayed at the degree to which people were driven, to the exclusion of everything else, by hard work and the accumulation of wealth.

Not much has changed. Pop in a DVD of "Koyaanisqatsi," the wordless, darkly brilliant, avant-garde 1982 film about the frenetic speed of modern life. Backed by the minimalist music of Philip Glass, director Godfrey Reggio takes film clips of Americans going about their daily business, but speeds them up until they resemble assembly-line machines, robots marching lockstep to nowhere. Now look at the video from L'Enfant Plaza, in fast-forward. The Philip Glass soundtrack fits it perfectly.

"Koyaanisqatsi" is a Hopi word. It means "life out of balance."

In his 2003 book, Timeless Beauty: In the Arts and Everyday Life, British author John Lane writes about the loss of the appreciation for beauty in the modern world. The experiment at L'Enfant Plaza may be symptomatic of that, he said -- not because people didn't have the capacity to understand beauty, but because it was irrelevant to them.

"This is about having the wrong priorities," Lane said.

If we can't take the time out of our lives to stay a moment and listen to one of the best musicians on Earth play some of the best music ever written; if the surge of modern life so overpowers us that we are deaf and blind to something like that -- then what else are we missing?

That's what the Welsh poet W.H. Davies meant in 1911 when he published those two lines that begin this section. They made him famous. The thought was simple, even primitive, but somehow no one had put it quite that way before.

Of course, Davies had an advantage -- an advantage of perception. He wasn't a tradesman or a laborer or a bureaucrat or a consultant or a policy analyst or a labor lawyer or a program manager. He was a hobo.

THE CULTURAL HERO OF THE DAY ARRIVED AT L'ENFANT PLAZA PRETTY LATE, in the unprepossessing figure of one John Picarello, a smallish man with a baldish head.

Picarello hit the top of the escalator just after Bell began his final piece, a reprise of "Chaconne." In the video, you see Picarello stop dead in his tracks, locate the source of the music, and then retreat to the other end of the arcade. He takes up a position past the shoeshine stand, across from that lottery line, and he will not budge for the next nine minutes.

Like all the passersby interviewed for this article, Picarello was stopped by a reporter after he left the building, and was asked for his phone number. Like everyone, he was told only that this was to be an article about commuting. When he was called later in the day, like everyone else, he was first asked if anything unusual had happened to him on his trip into work. Of the more than 40 people contacted, Picarello was the only one who immediately mentioned the violinist.

"There was a musician playing at the top of the escalator at L'Enfant Plaza."

Haven't you seen musicians there before?

"Not like this one."

What do you mean?

"This was a superb violinist. I've never heard anyone of that caliber. He was technically proficient, with very good phrasing. He had a good fiddle, too, with a big, lush sound. I walked a distance away, to hear him. I didn't want to be intrusive on his space."


"Really. It was that kind of experience. It was a treat, just a brilliant, incredible way to start the day."

Picarello knows classical music. He is a fan of Joshua Bell but didn't recognize him; he hadn't seen a recent photo, and besides, for most of the time Picarello was pretty far away. But he knew this was not a run-of-the-mill guy out there, performing. On the video, you can see Picarello look around him now and then, almost bewildered.

"Yeah, other people just were not getting it. It just wasn't registering. That was baffling to me."

When Picarello was growing up in New York, he studied violin seriously, intending to be a concert musician. But he gave it up at 18, when he decided he'd never be good enough to make it pay. Life does that to you sometimes. Sometimes, you have to do the prudent thing. So he went into another line of work. He's a supervisor at the U.S. Postal Service. Doesn't play the violin much, anymore.

When he left, Picarello says, "I humbly threw in $5." It was humble: You can actually see that on the video. Picarello walks up, barely looking at Bell, and tosses in the money. Then, as if embarrassed, he quickly walks away from the man he once wanted to be.

Does he have regrets about how things worked out?

The postal supervisor considers this.

"No. If you love something but choose not to do it professionally, it's not a waste. Because, you know, you still have it. You have it forever."

BELL THINKS HE DID HIS BEST WORK OF THE DAY IN THOSE FINAL FEW MINUTES, in the second "Chaconne." And that also was the first time more than one person at a time was listening. As Picarello stood in the back, Janice Olu arrived and took up a position a few feet away from Bell. Olu, a public trust officer with HUD, also played the violin as a kid. She didn't know the name of the piece she was hearing, but she knew the man playing it has a gift.

Olu was on a coffee break and stayed as long as she dared. As she turned to go, she whispered to the stranger next to her, "I really don't want to leave." The stranger standing next to her happened to be working for The Washington Post.

In preparing for this event, editors at The Post Magazine discussed how to deal with likely outcomes. The most widely held assumption was that there could well be a problem with crowd control: In a demographic as sophisticated as Washington, the thinking went, several people would surely recognize Bell. Nervous "what-if" scenarios abounded. As people gathered, what if others stopped just to see what the attraction was? Word would spread through the crowd. Cameras would flash. More people flock to the scene; rush-hour pedestrian traffic backs up; tempers flare; the National Guard is called; tear gas, rubber bullets, etc.

As it happens, exactly one person recognized Bell, and she didn't arrive until near the very end. For Stacy Furukawa, a demographer at the Commerce Department, there was no doubt. She doesn't know much about classical music, but she had been in the audience three weeks earlier, at Bell's free concert at the Library of Congress. And here he was, the international virtuoso, sawing away, begging for money. She had no idea what the heck was going on, but whatever it was, she wasn't about to miss it.

Furukawa positioned herself 10 feet away from Bell, front row, center. She had a huge grin on her face. The grin, and Furukawa, remained planted in that spot until the end.

"It was the most astonishing thing I've ever seen in Washington," Furukawa says. "Joshua Bell was standing there playing at rush hour, and people were not stopping, and not even looking, and some were flipping quarters at him! Quarters! I wouldn't do that to anybody. I was thinking, Omigosh, what kind of a city do I live in that this could happen?"

When it was over, Furukawa introduced herself to Bell, and tossed in a twenty. Not counting that -- it was tainted by recognition -- the final haul for his 43 minutes of playing was $32.17. Yes, some people gave pennies.

"Actually," Bell said with a laugh, "that's not so bad, considering. That's 40 bucks an hour. I could make an okay living doing this, and I wouldn't have to pay an agent."

These days, at L'Enfant Plaza, lotto ticket sales remain brisk. Musicians still show up from time to time, and they still tick off Edna Souza. Joshua Bell's latest album, "The Voice of the Violin," has received the usual critical acclaim. ("Delicate urgency." "Masterful intimacy." "Unfailingly exquisite." "A musical summit." ". . . will make your heart thump and weep at the same time.")

Bell headed off on a concert tour of European capitals. But he is back in the States this week. He has to be. On Tuesday, he will be accepting the Avery Fisher prize, recognizing the Flop of L'Enfant Plaza as the best classical musician in America.


Errol Morris (2003)

The Fog of War: Robert S. McNamara (100')

Documentary about Robert McNamara, Secretary of Defense in the Kennedy and Johnson Administrations, who subsequently became president of the World Bank. The documentary combines an interview with Mr. McNamara discussing some of the tragedies and glories of the 20th Century, archival footage, documents, and an original score by Philip Glass. Written by Richard Latham

The "Eleven Lessons" listed in the film are as follows:
1. Empathize with your enemy.
2. Rationality will not save us.
3. There's something beyond one's self.
4. Maximize efficiency.
5. Proportionality should be a guideline in war.
6. Get the data.
7. Belief and seeing are both often wrong.
8. Be prepared to reexamine your reasoning.
9. In order to do good, you may have to engage in evil.
10. Never say never.
11. You can't change human nature.

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."


Reinhard Joksch (2007)

Fritz Kolbe - Der ungeliebte Patriot

Spion gegen Hitler (40')


Alejandro Amenabar (2009)

Agora - Die SŠulen des Himmels (127')

Teil 1

Teil 2

mit Rachel Weisz als Hypatia von Alexandria




Jan Palfremon, Nabay Linde, Robert Hone (1991)

Eine Maschine verŠndert die Welt

Teil 1, 2, 3 (3 x 45')

fehlt Teil 4

Teil 1

Eine Maschine verŠndert die Welt - Wie die Computer rechnen lernten

Ein Jahr nach dem 2. Weltkrieg wurde der erste Gro§rechner um eine Summe von 3 Millionen Dollar gebaut. Dieser Gro§rechner hatte die KapazitŠt eines heutigen Taschenrechners, war aber trotzdem eine bahnbrechende Erfindung.

In wenigen Jahrzehnten entwickelte sich der Computer zur wichtigsten Maschine unserer Zeit und wurde fŸr die Menschen, ob zu Hause oder in der Berufswelt, allgegenwŠrtig. Doch wie kam man Ÿberhaupt auf die Idee, eine solche Maschine zu bauen. Der erste Mensch, der sich mit der Idee befasste, eine solche Maschine zu bauen, war Charles Babbage, um Rechenprozeduren von Fehlern zu befreien. Zu seiner Zeit gab es noch sogenannte "Rechenknechte", deren Aufgabe es war, langwierige Rechenoperationen auszufŸhren, die fŸr die Industrie und die Schifffahrt (Navigation) sehr wichtig waren.

1822 erfand Babbage die erste Rechenmaschine, die aber noch mechanisch arbeitete und nichts mit den heutigen Computern gemeinsam hatte. Seine "Differenzmaschine", mit Dampf betrieben, funktionierte jedoch nie. Bald schon merkte der Professor fŸr Mathematik an der UniversitŠt in Cambridge, dass eine solche Maschine zu einseitig war, und versuchte eine variablere Maschine herzustellen. Erste Heimcomputer kamen mit einem ROM, der das Betriebssystem beinhaltete.

Damit war ein Update nur durch Austausch dieses (seinerzeit teuren) Bausteins mšglich. Auch standen nicht immer ROMs mit ausreichender SpeicherkapazitŠt zur VerfŸgung. Daher ging man dazu Ÿber, die Computer mit einer Firmware auszuliefern, die das Betriebssystem von einem externen Speichermedium lŠdt. Da der IBM-PC - im Gegensatz zu seinen damaligen Konkurrenzerzeugnissen - ausschlie§lich mit handelsŸblichen Komponenten aufgebaut war, fŸhrte dies zu zahlreichen Nachbauten.

Der IBM-PC entwickelte sich zu einem inoffiziellen Industriestandard, weil er ohne Lizenzierung von IBM nachgebaut werden konnte..


Gene Roddenberry

Star Trek - The Next Generation:

04/25/92 221 45761.3 The Perfect Mate

A beautiful woman, chosen by her people to serve as a peace offering to end a centuries-long war, falls in love with Picard.

05/30/92 225 45944.1 The Inner Light (clips)

After a mysterious accident, Picard awakes up living the life of another person on a faraway planet.


Gene Roddenberry

Star Trek - The Next Generation

09/28/91 202 45047.2 Darmok

The crew is rendered helpless when Picard is kidnapped and forced to go to war with an alien captain


Gene Roddenberry

Star Trek - The Next Generation

05/09/92 223 45854.2 I Borg

Picard and the crew suffer from conflicting emotions when the Enterprise rescues a critically-injured Borg.

03/21/92 218 45652.1 Cause And Effect

The Enterprise is trapped in a time warp that forces the crew to endlessly repeat the same experiences


Gene Roddenberry (1989)

Star Trek -The Next Generation

01/23/93 238 46424.1 Ship In A Bottle (S6E12: 2x engl.)

A calculating Sherlock Holmesian character traps Picard and others in a holodeck simulation.

03/25/89 138 42625.4 The Royale (S2E12: 2x engl.)

Investigating the discovery of a piece of metal bearing a United States Air Force insignia, the Away Team finds itself trapped in the world of "The Hotel Royale", a novel come to life.


Gene Roddenberry

Star Trek - The Next Generation

06/13/92 226 45959.1 Time's Arrow #1

After Data learns of his own death in late- 19th-century San Francisco, a freak accident transports him back to that period.


Gene Roddenberry (1993)

Star Trek - The Next Generation

05/01/93 247 46778.1 Frame of Mind (S6E21: 2x engl.)

Trapped in an alien mental hospital, with little memory of the past, Riker is convinced he is going insane.


Gene Roddenberry (1993)

Star Trek - The Next Generation

05/16/92 224 N/A The Next Phase


Gene Roddenberry (1988)

Star Trek - The Next Generation

04/30/88 124 41697.9 We'll Always Have Paris (S1E24: 1x engl.)

Captain Picard is unexpectedly reunited with his first love in the midst of an investigation into lethal time warp experiments.


Petra Nagel

Liebe an die Macht:

Michail & Raissa Gorbatschow


Gene Roddenberry

Star Trek - The Next Generation

01/07/89 132 42477.2 Loud As A Whisper (S2E5: 1x engl.)

The future of a warring planet depends on a deaf mediator, who suddenly loses his ability to communicate.

... Troi comes to Riva (the mediator) and tells him she is going to try to mediate, and asks him for suggestions. Riva suggests she find something the two factions have in common, no matter how small, and says the real trick is "turning a disadvantage into an advantage." Troi challenges him to do the same, and he decides to beam back down.

When all is in place, Riva tells the Enterprise crew they can leave. Everyone is puzzled, except for Troi, who tells Riker that Riva is going to teach the Solari his sign language, which will help them communicate, not only with him, but with each other. The Enterprise leaves, confident that he will resolve the war, and Picard thanks Troi warmly for all she has done.


Gene Roddenberry

Star Trek - The Next Generation

01/21/89 131 42437.5 The Schizoid Man (S2E6: 1x engl.)

A brilliant but terminally ill scientist seeks eternal life by transferring his mind into Data's body.


Gene Roddenberry

Star Trek - The Next Generation

01/28/89 133 42494.8 Unnatural Selection (S2E7: 1x engl.)

The crew grapples with a mysterious disease which accelerates the aging process, causing humans to die of old age within a matter of days.


Gene Roddenberry

Star Trek - The Next Generation

02/11/89 135 42523.7 The Measure Of A Man (S2E9: 3x engl.)

When Data refuses to be disassembled for research purposes, Picard is enlisted to defend his rights in court.


Gene Roddenberry

Star Trek - The Next Generation

02/18/89 136 42568.8 The Dauphin (S2E10: 3x engl.)

Wesley finds romance with the beautiful young ruler of Daled Four whose secret power could destroy the Enterprise and her crew.

The Enterprise arrives at Klavdia Three and picks up Salia, future ruler of Daled Four, with her guardian Anya. Geordi takes the opportunity to make some minor adjustments to the warp engines, and sends Wesley for a magnet. Wes gets it, and then runs into Salia, and they seem immediately attracted to one another.

While Troi expresses concern that Salia and Anya may not be exactly what they appear to be (i.e. humanoid), Geordi sends Wesley out of Engineering until his hormones calm down. Wes consults with Worf, Data, and Riker about what to say to Salia, but none are particularly helpful. While Anya (whom we've seen change her shape earlier) takes a tour of the ship, Wes lurks outside Salia's door, until she asks him in to find out how to work the food dispenser



Gene Roddenberry

Star Trek - The Next Generation

02/11/89 135 42523.7 The Measure Of A Man

When Data refuses to be disassembled for research purposes, Picard is enlisted to defend his rights in court.


Gene Roddenberry

Star Trek - The Next Generation

02/04/89 134 42506.5 A Matter Of Honor (S2E8: 1x engl.)

Riker's loyalties are put to the test when he is assigned to a Klingon vessel which plans to attack the Enterprise.


Gene Roddenberry

Star Trek - The Next Generation

03/18/89 137 42609.1 Contagion (S2E9: 1x engl.)

The Enterprise's computer system falls prey to a mysterious electronic "virus" which programs the ship to self destruct.

Gene Roddenberry

Star Trek - The Next Generation

03/25/89 138 42625.4 The Royale (S2E12: 1x engl.)

They detect one building down planetside, with breathable air smack in the middle of a vicious storm system. Riker, Data and Worf beam down.

They find only an antique revolving door. When they go through, they find themselves in "The Hotel Royale", a hotel and gambling casino, and are welcomed by the desk clerk as three foreign gentlemen (expected, of course). Communications with the ship are lost, and Geordi and Wes begin working on finding a frequency that will work. Data, meanwhile, finds that none of the figures they see around them are emitting life signs.

While Geordi and Wes continue their work, Data learns how to play blackjack from Texas, one of the gamblers, and wins easily. Riker, becoming less amused, assembles Data and Worf and the three try to leave, only to find they cannot. The revolving door takes them back where they started, and no other exits can be found. (The walls are also phaser-resistant.) Riker confronts the desk clerk again, who doesn't seem to realize he's not on Earth, and is not at all helpful. Then, Data detects signs of human DNA, and they go upstairs to investigate.



Gene Roddenberry

Star Trek - The Next Generation

04/01/89 139 42679.2 Time Squared (S2E13: 1x engl.)

The U.S.S. Enterprise discovers a Federation shuttle containing an exact double of Captain Picard from six hours in the future.


Gene Roddenberry

Star Trek - The Next Generation

04/29/89 141 42695.3 Pen Pals (S2E15: 2x engl.)

Data races against time to save the life a little alien girl on a planet doomed for destruction.


Star Trek - The Next Generation

05/06/89 142 42761.3 Q Who (S2E16: 2x engl.)

The crew is hurled into the future by the malevolent Q, who sets them up for destruction by a race of half-human, half-robot aliens known as the Borg


Gene Roddenberry

Star Trek - The Next Generation

05/13/89 143 42779.1 Samaritan Snare (S2E17: 1x engl.)

While Picard fights for his life in surgery, Geordi is held hostage by the leaders of an alien race


Gene Roddenberry

Star Trek - The Next Generation

05/20/89 144 42823.2 Up The Long Ladder (S2E18: 1x engl.)

The crew's rescue of a missing earth colony leads to the discovery of a civilization composed entirely of clones.


Gene Roddenberry

Star Trek - The Next Generation

06/24/89 146 42901.3 The Emissary (S2E20: 3x engl.)

 An official mission becomes a personal matter when Worf's former love is sent to the Enterprise to mediate a dispute between Klingons and the 


Gene Roddenberry

Star Trek - The Next Generation

06/17/89 145 42859.2 Manhunt (S2E19: 1x engl.)

 In her search for the perfect mate, Troi's mother beams aboard the Enterprise-and sets her sights on Captain Picard.


Gene Roddenberry

Star Trek - The Next Generation

09/28/91 202 45047.2 Darmok

The Enterprise is in the El'A'Drel system to meet with the Tamarians, a race which seems peaceful, but have been described as "incomprehensible" in past encounters. Both sides try to converse, but no progress seems to be made; although the words are understandable, their meaning is not. The Tamarian captain, after a brief and heated discussion with his first officer about "Darmok and Jilad at Tanagra," beams off his bridge-and Picard is beamed off the Enterprise at the same time. Attempts to retrieve him fail, as the Tamarians have set up a transporter- blocking field in the planet's ionosphere.

Worf's first assumption is that this is some sort of challenge ritual, e.g., personal combat. Picard at first believes this as well, and throws away the knife that Captain Dathon throws to him, refusing to fight. Dathon replies, frustratedly, "Chaka...when the walls fell." Riker's first attempts to communicate with the Tamarians fail, and he orders Worf to assemble a team and take a shuttle down to save Picard, hoping the Tamarians won't push things that far. Picard, meanwhile, is still getting nowhere-Dathon appears friendly, and throws Picard a brand with which to light his own campfire, but communication is still seemingly impossible.

The shuttle tries to go down and is hit by Tamarian phasers-but only with enough force to make them go back. Riker is puzzled. Geordi thinks that given enough time, he might be able to punch through a very tight beam and get Picard off, but it'll take at least a day to get ready. Riker orders him to get on it, and orders Data and Troi to work on establishing a communication of some sort.

They find very little at first-"Darmok", used as a name of some sort, has 47 different meanings in nearby systems. After Troi expresses her frustration at the situation, they try again, this time with "Tanagra". It also has many meanings-but the meanings for a particular planet combine nicely ("Darmok" is a mythical hunter-hero, and "Tanagra" is a mythical island). Meanwhile, Picard examines Dathon's campsite when he finds Dathon gone, and discovers some sort of captain's log. But just then, Dathon hurries back, and frantically tries to give Picard a knife again, saying "Darmok and Jilad at Tanagra!" repeatedly. Picard refuses-but then a loud growl is heard from not very far away. "Darmok, and Jilad..." says Dathon with resignation, "at Tanagra."

Picard then takes the knife, realizing that the problem is not with Dathon. Since ship's sensors are picking up this creature (whatever it is) moving towards the two captains, Riker hurries Geordi along with the transporter, despite Geordi's warning that it might not work. Meanwhile, as the creature approaches, Picard makes an intuitive breakthrough, and finally realizes that the Tamarians communicate via metaphor, by citing examples from their own culture. "Sucat, his eyes uncovered!" exclaims Dathon in elation. However, the creature's attack easily breaks through the defenses of both men, and Dathon is sorely battered. Picard moves to help-and is promptly seized by a transporter beam. The beam isn't strong enough to get him, though, and Picard (who screamed out against the beam when it came) is returned to the surface, just in time to see the creature vanish, and Dathon fall unconscious.

As the situation worsens in orbit (the interference field has now been strengthened, Data and Troi conclude that although they know how the Tamarians communicate, they don't know what the examples mean, and Riker prepares to fire on the Tamarian ship to remove the field), Picard "talks" with a wounded Dathon. Eventually, he pieces together the puzzle-Dathon intended for the two of them to come down to the planet and fight a common enemy to form a bond between them, just as Darmok and Jilad did against the beast of Tanagra. Picard, in return, tells Dathon a tale of Gilgamesh and Enkidu- just before Dathon succumbs to his wounds and dies.

When Riker receives word that Dathon's life signs have vanished, and that the creature has been detected moving towards Picard again, he decides they're out of options, and they open fire. The field is removed, and Picard is saved just in time. Both ships trade shots several times, and the Enterprise is close to destruction, but Picard manages to communicate the facts of the situation enough to the Tamarian first officer that both sides leave peacefully; not necessarily as friends, but certainly not as enemies.


Gene Roddenberry

Star Trek - The Next Generation

10/02/93 255 47215.5 Interface (S7E3: 2x engl.)

The USS Raman is in jeopardy, trapped inside a gas giant, and the Enterprise is naturally called in to rescue them. They plan to do so by using a new piece of technology, a probe that Geordi uses via a direct neural interface, letting him experience the probe's responses as if he were actually where the probe is. Although the gas giant's atmosphere is very turbulent, the probe should be able to transmit without problems. All is well - until Starfleet calls Picard with a message of bad news. The U.S.S. Hera disappeared four days ago, along with all of her crew - and her captain, Geordi's mother.




Gene Roddenberry

Star Trek - The Next Generation

04/29/89 141 42695.3 Pen Pals

05/06/89 142 42761.3 Q Who


05/30/92 225 45944.1 The Inner Light (S5E25: 3x engl.)

The Enterprise encounters an object: a probe of unknown and fairly primitive design, which quickly begins matching their course and speed. It initially seems nonthreatening, but soon emits a beam of nucleons. The shields go up, but it manages to break through the shields in a very narrow region, and Picard suddenly faints. He blearily sees Riker holding him...and then Riker dissolves into a youngish woman with a careworn look on her face, who asks Picard if he's feeling better, referring to him as "Kamin". Picard initially believes he's stuck in a holodeck program and attempts to leave, but to no avail. Feeling trapped, he paces. "What is this place?" " your home, of course."


Gene Roddenberry

Star Trek - The Next Generation

07/08/89 147 42923.4 Peak Performance (S2E21: 1x engl.)

A simulated war game turns deadly when the crew is ambushed by a Ferengi battleship.

Due to the Borg threat, the Enterprise is taking part in Federation wargames, overseen by the Zakdorn strategist Sirna Kolrami, who is unpleasant, to say the least. Kolrami tells Riker he will be commanding the 80-year-old U.S.S. Hathaway, and putting her in simulated combat against the Enterprise. Riker selects his complement of 40, including Worf, Geordi and Wesley.

Before Riker leaves, he invites Kolrami to play a game of strategema, a game at which Kolrami is a grandmaster. Kolrami easily defeats Riker (who did not expect to win, but merely played for the privilege of playing him), and Pulaski suggests to Data that he play Kolrami, to knock Kolrami down a few pegs. Riker and company arrive at the Hathaway and are given 48 hours to get her into shape. This may prove difficult, as Geordi finds they have virtually no dilithium, and no antimatter for the warp drive. Worf considers the possibility of fooling the Enterprise sensors, and Wesley returns to the Enterprise, to pick up a "science project" of his which just happens to have antimatter.

Data, put up to the match by Pulaski, plays Kolrami-and loses. Concerned that his loss may be a sign of a malfunction in his systems, Data goes into seclusion in his quarters, and neither Pulaski nor Troi can help him. Picard, after yelling at Kolrami for his belittling attitude towards Riker, goes to Data's quarters with a no- nonsense attitude and gets Data back to the bridge, where the two confer about Riker's probable tactics. ...


Gene Roddenberry

Star Trek - The Next Generation

05/30/92 225 45944.1 The Inner Light



Gene Roddenberry

Star Trek - The Next Generation

04/25/92 221 45761.3 The Perfect Mate (S5E21: 1x engl.)

The Enterprise is ferrying Kriosian ambassador Briam to a meeting with his opposite number, Voltan ambassador Alric, where the two warring systems will finally settle their differences on board the Enterprise. Unfortunately, some Ferengi on board wreak havoc at the wrong time, and Briam's "cargo" is revived early, and revealed to be a beautiful woman named Kamala, who seems to show an immediate interest in Picard. Kamala is a rarity, a female empathic metamorph, who unconsciously molds her personality to meet the desires of those men around her. Eventually, she will bond to one man, and she has been intended since birth to bond to Alric, ending their bitter feud. Riker takes her to some quarters, but she quickly turns herself into his ideal woman and tries to seduce him.

The following morning, after being told by a very angry Beverly that Briam has Kamala confined to quarters, Picard goes to see her. She explains that her presence could be detrimental to the crew, and when Picard asks her to stop changing herself in this way, she explains that it's part and parcel of who she is; "one might as well ask a Vulcan to forgo logic." Picard asks her what she and other metamorphs do or want when there's no one else to mold to. She says, simply, that she's incomplete. Picard leaves, visibly disturbed by her forceful approach.

After initially failing to convince Briam that she can move freely, Picard appoints Data her chaperone. Even Data has his hands full, however, when Kamala causes trouble in Ten- Forward with a group of miners. Kamala later tells Picard that she thinks she should remain in her quarters, and will-but only on the condition that he visit. Picard first demurs, then becomes fascinated when she shows a sudden interest in and knowledge of archaeology. Panicking at his own interest, Picard attempts to convince her that he's really a very dull fellow. She doesn't believe him, but he manages to make his refusal stick.

However, shortly thereafter, the Ferengi's attempt to bribe Briam results in Briam being severely injured. The Ferengi are sent to a nearby Starbase, but now the negotiations are in jeopardy. A delay is not possible, since Kamala's ability to permanently bond does not last long, and Picard is put in the position of having to conclude the negotiations-and worse yet, work closely with Kamala for days in preparing for them.

They become closer over those days, and Kamala admits that until this voyage, she had never been alone at all. She understands her place in history, and intends to fulfill it, "but I find it ironic that on the eve of this ceremony, which I spent my entire life preparing for, that I should meet a man like you." Alric arrives that evening, but is woefully stuffy; by his own admission, he's far more interested in the trade agreements between their two worlds than he is in Kamala. Picard brings Kamala up to date on the arrangements (she is to be presented to Alric the following morning at ten), but Kamala asks him not to leave. He tries to simply sit and talk, but Kamala draws ever closer, not even entirely knowing why.

The following morning at tea, a morose Picard bares his soul a bit to Beverly. He says that although he realizes she "will change as soon as the next man comes in the room...I find myself hoping the next man won't come in." Bev sympathizes, but tells him she doesn't think she can help. Picard arrives to escort Kamala, only to have her tell him that she's already bonded; to him. Regardless, she intends to go ahead with the ceremony; being empathic, she can still please Alric and ensure that he never knows. Picard gives away the bride, looking rather stricken. Finally, the recovered Briam heads back to his ship-but when he asks Picard how he could possibly have resisted her influence, Picard merely tells him to have a safe trip home.


Gene Roddenberry

Star Trek - The Next Generation

06/24/89 146 42901.3 The Emissary (S2E20: 1x engl.)



Gene Roddenberry

Star Trek - The Next Generation

05/11/91 197 44821.3 The Host (S4E23: 1x engl.)

Beverly's life has taken a turn for the better- she's in love with Ambassador Odan, a negotiator of the Trill race, who's on board to get to a dispute between two moons of the world Peliar. However, Odan isn't quite what he seems-Troi keeps getting fluctuations of emotion from him, and when he's alone, we see...something...moving around in his stomach.

The trip is for the most part uneventful, marked only by Bev receiving a bit of ribbing from Deanna about her new flame. Once they arrive at the planet in question, however, things happen very fast. Odan and Riker attempt to shuttle down to the planet (Odan claiming he's not comfortable with transporters), but the shuttle is fired on. Riker manages, barely, to get it back to the Enterprise, but Odan is critically injured. Or rather, Odan's host body is critically injured-as it happens, the Trill are a joint species, and the parasite within the host body is the true Odan.

The body dies, and a replacement host from the Trill is 40 hours away, far longer than Odan could survive alone, even in stasis. Since Odan might be able to survive in a human host, Riker volunteers to be that host temporarily. The process is a little bumpy, but it works.

The aftermath is a problem, however. First, Riker/Odan must convince both Governor Leka and the two representatives of the factions that he's legitimate. Secondly, Riker's body is slowly but surely rejecting Odan, and it's unclear how long he can last. Thirdly, Beverly is very...uncomfortable with this situation, particularly when Riker/Odan says he still loves her, and still wants her.

All three problems are resolved, more or less. Odan is accepted as negotiator by all three parties, and Beverly manages to accept that the man she loves is still there, inside Riker's body. Unfortunately, the rejection continues, and Odan makes Beverly swear to remove him at the end of the day's negotiations, regardless of whether the new host has arrived.

Fortunately, his negotiations are successful, and while Odan has to spend a little time in stasis between hosts, both Odan and Riker survive. The change of hosts, however, becomes too much for Beverly, especially when she finds that the new Trill host is a woman. Saying "I can't keep up," she tells Odan that although she still loves him and will never forget him, it's over.



Gene Roddenberry

Star Trek - The Next Generation

05/01/93 247 46778.1 Frame of Mind

Riker, looking very disheveled, is deep in conversation with an unseen doctor. It soon becomes clear that he's in an insane asylum, brought there until he can stand trial for his actions. Riker steadily loses what little cool he has, and in the end has some sharp words for the doctor ...


Gene Roddenberry

Star Trek - The Next Generation

01/23/93 238 46424.1 Ship In A Bottle (on youtube)

Moriarty managed to "leave" the holodeck because it was a holodeck within a holodeck. Moriarty is in a huge holodeck program of his own making - and so are they. ... Picard then steps in, shutting down the holodeck program that Moriarty had entered ever since Picard's conversation with the Countess and saving Moriarty and the Countess in an isolated memory cube. He then shuts down the program Moriarty created and leaves the holodeck. As the Enterprise retreats to observe the planetary collision from a safe distance, Picard explains this to everyone, pointing out that Moriarty's perceived "reality" right now may be no different from their own - and perhaps they are just a fiction playing itself out on a box on someone's table.


Gene Roddenberry

Star Trek - The Next Generation

02/15/92 214 45494.2 Conundrum (S5E14: 2x engl.)

The Enterprise is tracking some odd signals which could be a sign of intelligent life. Troi and Data are in Ten-Forward: Troi manages to beat Data at three-D chess and then coaxes Data into paying off his bet. Beverly, meanwhile, is examining a diver who missed a dive by a little too much. Riker and Ro, en route to the bridge, are arguing over innovative techniques and proper procedure. Once they arrive, a ship comes into range, and appears to be the origin of the signals. It's a one-man craft with minimal armament, so they hail it and keep shields down. The craft's scans then mimic an optical data reader and increase more than tenfold in power, so the shields go up. Data, behind the bar, offers Troi her winnings: a Samarian Sunset [a drink], traditionally made. Suddenly, a green flash washes over Data, and then the rest of the crew in rapid succession. On the bridge, everyone seems oddly confused...and rightly so, for all have suddenly lost all memory of who they are! They quickly realize that they're on a starship, and Ro (at helm..."Looks like I'm the pilot") finds that the helm is down. Riker and Worf examine tactical, which is also inoperative. Everyone's ability to do these things makes it clear that while their identities have vanished, their basic skills have not. Riker notes that Picard, with four pips, is probably the starship's leader, although Worf (also decorated, with the sash) points out that there are other possibilities. Picard, however, points out that who leads is unimportant right at the moment; the important thing is to find out their identities and mission. And, as an unidentified person in a commander's uniform points out, they need to know what happened to them, and how....



Gene Roddenberry

Star Trek - The Next Generation

10/24/92 232 46192.3 True Q (S6E6: 1x engl.)

The Enterprise is busy picking up relief supplies for the pollution-stricken planet of Tagra Four, and also picks up Amanda Rogers, an honor student interning on board. She is put to work in all departments, but primarily for Dr. Crusher, with whom she strikes up a fast friendship. However, strange occurrences seem to center on Amanda very quickly; her pet dogs (which she didn't bring on board) mysteriously appear and disappear in her quarters, and a large container nearly falls on Riker before suddenly being deflected (with no visible cause for either). Finally, things fly completely out of control when Amanda single-handedly contains and reverses a warp-core breach explosion.

Questions fly fast and furious at a conference shortly after this incident, but no answers are forthcoming until Q pays a visit. He confesses that he was responsible for the warp-core breach and the falling container, but only to test Amanda's powers - for, in fact, she is the offspring of two Q, and probably one herself. He announces that he's come to train her and then take her back to the Qontinuum, but in the end agrees to let her make the choice herself in exchange for Picard introducing them. The initial meeting goes very badly, however, as Q informs his superiors. "However, there is the possibility we won't have to terminate the girl."

Amanda, reluctantly, decides to allow Q to train her how to use her power. This training appears to hone her skills, but also strengthens her doubts about how to use it all. In fact, she even finds that in some circumstances they do her no good at all; when Q convinces her to speed up a test she's doing for Beverly, the artificial enhancement renders the results useless.

As the mystery around Amanda's parents deepens (they appear to have been killed by an extremely unusual tornado), Amanda appears to be embracing Q's amoral attitude more and more strongly. She joins him in a game of hide-and- seek while teleporting all around the ship, and briefly abducts Riker in an attempt to be romantic. This last backfires, however, even when she forcibly makes him love her. "I thought it would be romantic...but it's empty."

Picard, meanwhile, speaks to Q of his findings, and asks outright if the "tornado" that killed Amanda's parents was a tool of execution by the Qontinuum. Q does not answer, but suggests that it might have been, and insists that Amanda really has no choice in the matter. If she is a Q, he says, she must return with him; and if not, she is to be killed. When Picard asks Q what he's concluded, Q responds offhandedly, "I haven't decided yet."

As the Enterprise arrives at Tagra Four to begin its mission (now including the fixing of a dangerously damaged reactor), Picard decides to inform Amanda of the situation. She calls Q and demands to know what right the Qontinuum has to play judge, jury, and executioner, either for her or her parents. After a brief exchange over morality, he tells her that in fact, she is not to be harmed. She gets a choice: either return with him to the Qontinuum, or refuse to ever use her powers. (Her parents, he points out, chose the latter - and failed.) She chooses the latter, but after an immediate emergency on the planet forces her hand, she decides to go with him after all. After saying goodbye to both Crusher and Picard, she departs.


Gene Roddenberry

Star Trek - The Next Generation

11/07/92 234 46271.5 A Fistful of Datas (S6E8: 1x engl.)

A holodeck fantasy goes awry, sending Worf and his son into a Wild West showdown with a villain who's a dead ringer for Data.


Gene Roddenberry

Star Trek - The Next Generation

10/17/92 231 46154.2 Schisms (S6E5: 1x engl.)

The Enterprise crew suffers bizarre consequences following a secret, unwelcome alien visit.


Gene Roddenberry

Star Trek - The Next Generation

10/31/92 233 46235.7 Rascals (S6E7: 1x engl.)

A bizarre transporter mishap transform Picard and three other staff members into children just as Ferengis invade and disable the ship.


Gene Roddenberry

Star Trek - The Next Generation

Behind the Scenes

Tribute to Gene Roddenberry


Won Kar Wai



Tony Palmer

Hail Bop: A Portrait of John Adams


Alfred Weidenmann




Penny Marshall, Oliver Sacks (1990)




Ron Howard (2001)

A Beautiful Mind


Craig Boreham (2010)

Before The Rain


Alfonso Cuaron (2006)

Children of Men


Lasse Halstrom (2000)



Robert Zerneckis, Carl Sagan (1997)

Contact (Contact, novel by Carl Sagan)


Oliver Stone (2003)



Fernando Meirelles (2005)

Constant Gardener (novel Constant Gardener by John le Carre)


Paul May (1957)

Der Fuchs von Paris

Im Kriegsfilm Der Fuchs von Paris von Regisseur Paul May schlŠgt sich der junge deutsche Offizier Hardy KrŸger auf die Seite der Résistance.

Der Fuchs von Paris erzŠhlt die Geschichte von einer Gruppe deutscher GenerŠle, die 1944 in den Widerstand gegen Hitler gehen. Um die sinnlose Opferung von drei Divisionen zu verhindern, spielen die GenerŠle den Alliierten wichtige VerteidigungsplŠne Hitlers zu. Doch der ausgeklŸgelte Spionageapparat der Gestapo funktioniert einwandfrei. Der junge Hauptmann FŸrstenworth (Hardy KrŸger), dessen Onkel zu den Verschwšrern zŠhlt, wird unwissentlich zum Mittler. Bevor die Gestapo ihn schnappen kann, verliebt er sich in die Franzšsin Yvonne (Marianne Koch). Doch FŸrstenworth schweigt im Verhšr und so nimmt die Tragšdie ihren Lauf.

Hintergrund & Infos zu Der Fuchs von Paris
Der Fuchs von Paris ist wie es in der damaligen Nachkriegszeit Ÿblich war, darauf bedacht, die Deutschen nicht nur als Monster darzustellen. So sind die Deserteure keine Nazis, sondern WiderstandskŠmpfer und mutige MŠrtyrer. Zu Paul Mays erfolgreichsten Filmen, fŸr die er jeweils einen Bambi bekam, zŠhlen 08/15 sowie die Heimatfilme Und ewig singen die WŠlder und Via Mala. Ab Mitte der 60er Jahre zog er sich aus dem KinofilmgeschŠft zurŸck und drehte nur noch fŸr das Fernsehen. Der Fuchs von Paris entstand 1957 mit Hardy KrŸger als deutscher Offizier FŸrstenworth, Martin Held als sein Onkel General Quade und Marianne Koch als Yvonne. Das Drehbuch stammt von Herbert Reinecker, der spŠter fŸr die Serien Derrick und Siska schrieb.

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Frankreich, 1944: Der junge deutsche Hauptmann FŸrstenwerth (KrŸger) verliebt sich in die Franzšsin Yvonne (Marianne Koch), die Kontakte zur Résistance hat. Seinem Onkel, General Quade (Martin Held), kommt das sehr gelegen: Er und andere deutsche Offiziere wollen unnštiges Blutvergie§en verhindern und den Alliierten Hitlers PlŠne zuspielen…

(Quelle: Movieplot)


Sidney Pollak (2005)

Sketches of Frank Gehry

Sketches of Frank Gehry is a 2006 American documentary film directed by Sydney Pollack and produced by Ultan Guilfoyle, about the life and work of the Canadian-American architect Frank Gehry. The film was screened out of competition at the 2006 Cannes Film Festival.[1] Pollack and Gehry had been friends and mutual admirers for years.[2] The film features footage of various Gehry-designed buildings, including a hockey arena for the Mighty Ducks of Anaheim, the Guggenheim Museum Bilbao, and the Walt Disney Concert Hall. The film includes interviews with other noted figures, including the following:

The film also discusses work on Gehry's own residence, which was one of the first works that brought him to notoriety.


George Clooney (2005)

Good Night and Good Luck

Good Night, and Good Luck. is a 2005 American drama film co-written and directed by George Clooney and starring David Strathairn, Clooney, Robert Downey, Jr., Patricia Clarkson and Jeff Daniels. The movie was written by Clooney and Grant Heslov, both of whom also act in the film, and portrays the conflict between veteran radio and television journalist Edward R. Murrow and U.S. Senator Joseph McCarthy of Wisconsin, especially relating to the anti-Communist Senator's actions with the Senate Permanent Subcommittee on Investigations.


Gus van Sant (1997)

Good Will Hunting

Good Will Hunting is a 1997 American drama film directed by Gus Van Sant and starring Matt Damon, Robin Williams, Ben Affleck, Minnie Driver, and Stellan Skarsgård. Written by Affleck and Damon, and with Damon in the title role, the film follows 20-year-old South Boston laborer Will Hunting, an unrecognized genius who, as part of a deferred prosecution agreement after assaulting a police officer, becomes a patient of a therapist (Williams) and studies advanced mathematics with a renowned professor (Skarsgård). Through his therapy sessions, Will re-evaluates his relationships with his best friend (Affleck), his girlfriend (Driver), and himself, facing the significant task of thinking about his future


Studentendorf Schlachtensee (2008)

Hansaviertel: Die Energie der Nachkriegsmoderne

Tagung in der Akademiie der KŸnste zu WŠrmebrŸcken, KŸhlrippen, Kondenswasser, Energieeffizienz, Revitalisierungskonzepten und Denkmalschutz


Marian Engel (2007)

leben in der stadt von morgen: 50 jahre berliner hansaviertel


Yann Arthus-Bertrand (2009)


Home is a 2009 documentary by Yann Arthus-Bertrand. The film is almost entirely composed of aerial shots of various places on Earth. It shows the diversity of life on Earth and how humanity is threatening the ecological balance of the planet. The movie was released simultaneously on 5 June 2009, in cinemas across the globe, on DVD, Blu-ray, television, and on YouTube, opening in 181 countries.


Terry George (2004)

Hotel Rwanda

Hotel Rwanda is a 2004 American historical drama film directed by Terry George. It was adapted from a screenplay written by both George and Keir Pearson. Based on real life events in Rwanda during the spring of 1994, the film stars Don Cheadle as hotelier Paul Rusesabagina, who attempts to rescue his fellow citizens from the ravages of the Rwandan Genocide. Sophie Okonedo and Nick Nolte also appear in principal roles. The film, which has been called an African Schindler's List, documents Rusesabagina's acts to save the lives of his family and more than a thousand other refugees, by granting them shelter in the besieged Hôtel des Mille Collines.[3] Hotel Rwanda explores genocide, political corruption, and the repercussions of violence.[4]


Stephen Doldry (2002)


The Hours is a 2002 drama film directed by Stephen Daldry, and starring Nicole Kidman, Meryl Streep, Julianne Moore and Ed Harris. The screenplay by David Hare is based on the 1999 Pulitzer Prize-winning novel of the same title by Michael Cunningham.

The plot focuses on three women of different generations whose lives are interconnected by the novel Mrs Dalloway by Virginia Woolf. These are Clarissa Vaughan (Streep), a New Yorker preparing an award party for her AIDS-stricken long-time friend and poet, Richard (Harris) in 2001; Laura Brown (Moore), a pregnant 1950s California housewife with a young boy and an unhappy marriage; and Virginia Woolf (Kidman) herself in 1920s England, who is struggling with depression and mental illness whilst trying to write her novel.


Nicolas Roeg (1985)


Insignificance is a 1985 British comedy-drama film directed by Nicolas Roeg, produced by Jeremy Thomas and Alexander Stuart, and adapted by Terry Johnson from his play of the same name. The film is set in 1954, with most of the action taking place in a hotel room in New York City. The action revolves around the interplay of four characters who represent iconic figures of the era, Marilyn Monroe, Joseph McCarthy, Joe DiMaggio, and Albert Einstein called The Actress, The Senator, The Ballplayer, and The Professor, respectively.


Raul Ruiz (2006)


Gustav Klimt's life story unfolds in a series of disjointed sequences in the artist's mind as he lies dying of pneumonia in a Viennese hospital where he is visited by his friend, Egon Schiele (Nikolai Kinski). Themes within the film include Klimt's platonic friendship with Emilie Floege (Veronica Ferres).[3] Much of the film is centred on Klimt's relationship with Lea de Castro (Saffron Burrows), a dancer to whom he is introduced by the film pioneer Georges Méliès.[4]


Radu Michaileanu (2009)

Konzert (Le Concert)

A former world-famous conductor of the Bolshoi Theatre orchestra, known as "The Maestro", Andrey Simonovich Filipov, had had his career publicly broken by Leonid Brezhnev for defending Jewish musicians and is reduced to working as a mere janitor in the theatre where he once conducted, becoming an alcoholic in the process.

While cleaning his boss' office he intercepts an official invitation from the prestigious Théâtre du Châtelet in Paris to replace a concert of the Los Angeles Philharmonic Orchestra that was canceled at the last minute. Filipov comes up with a plan to reunite his old orchestra, composed of old Jewish and Gypsy musicians - who also have been reduced to making a living as movers or taxi drivers - to perform in Paris and complete a performance of Tchaikovsky's Violin Concerto, which was interrupted 30 years earlier by former KGB Agent Ivan Gavrilov, who is enrolled by Filipov in his scheme as the orchestra's manager and is actively and efficiently supporting Filipov's plan, much to the dismay and suspicion of Aleksandr 'Sasha' Abramovich Grossman (the orchestra's main cellist), because it turns out that Gavrilov has his own agenda for the Paris trip.

Gavrilov and Filipov demand several conditions from the Châtelet, that they are forced to accept, since the concert with the Bolshoi is significantly less expensive; one of those conditions is that the solo violinist is Anne-Marie Jacquet, who famously has never played Tchaikovsky's concerto because she is afraid of it, but has long dreamt of playing it with the Bolshoi and particularly with Filipov - whose fame outside of Russia has not diminished -; her agent, Guylène de La Rivière, who is also Anne-Marie's adoptive mother, is reluctant to allow that, because she is acquainted with Filipov and his past, but Anne-Marie insists and she has no option but to accept. The orchestra is also forced to accept the sponsorship of an openly mafia boss who likes to play the cello, despite the fact that he does so terribly and who is part of the orchestra.

Once in Paris, the entire orchestra disappears partying and raising money in other jobs such as taxi drivers, movers or translators. The unprofessionalism of the Russian musicians and Anne-Marie's own impression that the performance serves as a means of catharsis for Filipov, forces Anne-Marie to call off her participation in the concert, but Sasha convinces her to come to the theater because the Concert holds the key to Anne-Marie's past and her parents, whom she has never met, and whom she believes to be scientists who died during her infancy in the Alps. As it turns out, Filipov and his wife Irina were the best friends of Leia and Yitzhak Strum, also Jewish musicians. Leia was an accomplished violinist and the soloist at the time of the interrupted concert thirty years before in Moscow. After the public humiliation they suffered under Gavrilov and the entire Brezhnev regime, the couple spoke openly against the government on Radio Free Europe, an American radio station that was banned in the former USSR, and as a result were deported to Siberia, where they spent the rest of their lives. Leia, who was, as we learn, Anne-Marie's mother, lost her mind and played the Tchaikovsky concert in her imagination every day for her husband until her death in 1981, which was followed by his six months later. Baby Anne-Marie managed to escape with Guylène, at the time the representative of a visiting French orchestra, hidden in a cello case at the behest of Irina, Filipov and Sasha.

At the last moment, the entire orchestra, after receiving a SMS message calling them to play in honor of Leia, appears at the Theatre despite the fact that not a single rehearsal has taken place. In the meantime, the real manager of the Bolshoi, who happened to be vacationing in Paris and learned about the concert by chance, appears at the theatre to prevent the performance, but he is intercepted by Gavrilov who locks him in a broom closet. The concert has a wobbly beginning due to the lack of rehearsals, but they all manage to reach Filipov's ideal spontaneous harmony once Anne-Marie mesmerizes everyone with her magnificent interpretation of the solo part, which she studied on her mother's annotated score. The concert is a huge success and Filipov is able to restart his career as a conductor of the new "Andreï Filipov Orchestra" along with Anne-Marie, who joins him in a world tour.


Kurt Hoffmann (1963)

Liebe will gelernt sein (Drehbuch von Erich KŠstner, nach seinem TheaterstŸck "Zu treuen HŠnden")

Ilse Lehmbruck ist besorgt: Ihr Sohn Hansgeorg zeigt so gar kein Interesse an Frauen, sondern widmet sich mit ganzem Herzen seinem Medizinstudium. Auch hier will er nicht Frauenarzt werden, sondern als Kinderarzt seine Brštchen verdienen. Bevor aus Hansgeorg noch ein Muttersšhnchen wird, schickt ihn Mutter Ilse zur Untermiete zu seinem Onkel Christoph Mylius nach MŸnchen, der als Schriftsteller sein Geld verdient. Hier soll er behutsam in die Welt der Erwachsenen und vor allem die der Frauen eingefŸhrt werden.

Christoph Mylius ist der Liebling der Frauen, trifft er mit seinen Romanen doch in ihre Herzen. Privat fŸhrt er eine lange Zeit eher geheim gehaltene Beziehung zur erfolgreichen Schauspielerin Hermine und muss sich gegen die vorsichtigen Avancen seiner SekretŠrin Dora wehren.

Schnell wird deutlich, dass Hansgeorg seine Hintergedanken hatte, als er bei Onkel Christoph einzog. Zum einen will er seine Mutter mit dem Nachbarn verkuppeln und dabei nicht im Weg stehen, und zum anderen mag er MŸnchen nicht nur wegen der UniversitŠt, sondern vor allem wegen der LeihbŸcherei-Inhaberin Margot. Beide sind seit vier Jahren heimlich ein Paar und er verbringt jede freie Minute bei ihr.

Christoph fŸhrt Hansgeorg in die Gesellschaft ein: Sie gehen zu Tanzkursen, wo Christoph von der Damenwelt belagert wird, und besuchen Hermine im Filmatelier, wo sie die Aufnahme einer Badewannennacktszene verfolgen, die unfreiwillig komisch endet. Im Striplokal schlie§lich zeigt sich Hansgeorg weniger von der sich entkleidenden Dame als vielmehr von der Bardame begeistert, die zu hohen Puls hat. Er geht fŸr sie zur Apotheke, um Medizin zu holen - und lŠsst sich beim wartenden Christoph schriftlich entschuldigen, da er noch zu arbeiten habe. Christoph wiederum wird von Dora Ÿberrascht, die mit ihm die Nacht verbringt.

Der nŠchste Morgen bringt ein gemeinsames Eintreffen in Christophs Haus: WŠhrend Christoph verkatert und ŸbermŸdet ist, ist Hansgeorg ausgeruht, sodass er sich erklŠren muss und endlich zugibt, eine Freundin zu haben. Bei einem Fest im Hause Christoph stellt Hansgeorg ihm Margot vor, wŠhrend sich Hermine und Dora auszusprechen versuchen und unversšhnt auseinandergehen. Kurze Zeit spŠter hat Christoph eine neue SekretŠrin.

Hansgeorg gibt vor, auf lŠngere Zeit an den Rhein zu verreisen. In Wirklichkeit lebt er in Margots Wohnung in MŸnchen. Dort erfŠhrt er, dass seine Mutter Hals Ÿber Kopf den Nachbarn Eberhard geheiratet hat und beschlie§t, nun auch seine Beziehung nicht mehr geheim zu halten. Kurz nach seiner "offiziellen" RŸckkehr vom Rhein bittet er die Familie zusammen. Mutter Ilse, die Margot aus Prinzip ablehnen will, wird Ÿberrascht, als sie in ihr Hansgeorgs Jugendliebe erkennt und nun wei§, dass beide schon seit Jahren ein Paar sind. Beide erklŠren der Familie, dass sie noch in diesem Monat heiraten werden: nicht, weil Margot schwanger ist, sondern weil beide schon einen zweijŠhrigen Jungen namens Andreas haben. Die Überraschung ist perfekt und Ilse nach kurzem Zšgern eine stolze Gro§mutter. Wenig spŠter folgt die Hochzeit, an der die gesamte Familie teilnimmt.


George Miller (1992)

Lorenzos Öl (Lorenzo's Oil)

In dem Film wird die Geschichte von Lorenzo Odone erzŠhlt, der an der seltenen Krankheit Adrenoleukodystrophie (ALD) leidet. Da die Odones sich mit der infausten Prognose nicht zufriedengeben, wenden sie sich an verschiedene €rzte, die aber jeweils nur auf ihrem Gebiet Spezialisten sind. Da das Problem aber viele Wissenschaftsbereiche durchzieht, bringt diese Vorgehensweise die Eltern nicht weiter. Sie vertiefen sich deshalb in medizinische FachbŸcher. Dabei sto§en sie auf ein polnisches Experiment mit einfach ungesŠttigtem Rapsšl, von dem sie glauben, dass es Lorenzos Krankheit mšglicherweise verlangsamen kann. Doch die €rzte wollen zunŠchst nicht darauf eingehen, da keine Studien existieren, in denen Auswirkungen auf Menschen getestet worden wŠren. Die Odones geben trotz des Risikos ihrem Kind das Rapsšl, und es hilft, aber nicht vollstŠndig. Der Vater forscht weiter und macht eine Entdeckung. Aber ein weiteres Mal wird ihm von akademischer Seite nicht geholfen. Durch viel Arbeit und gute Kontakte kommt er an ein weiteres Öl, das zusammen mit dem ersten das Kind vor weiteren SchŠden weitgehend bewahrt. Dieses Öl wird spŠter Lorenzos Öl genannt. Der Vater versucht weiter, seinem Jungen zu helfen und unterstŸtzt Zelltransplantationen an Tieren, in der Hoffnung, dass diese vielleicht spŠter mal Menschen helfen kšnnten.

Am Schluss des Films wendet sich das Blatt fŸr Lorenzo. Nachdem der Film die gesamte Zeit seinen Leidensweg und den seiner Familie gezeigt hat, bis er zuletzt in einem Koma-Šhnlichen Zustand auf dem Bett lag und nicht einmal seinen Speichel schlucken konnte, sieht man nun in den letzten Minuten wie Lorenzo sich bemerkbar macht, die Augen und dann die Finger bewegt.

Der Spielfilm beschreibt den Lebensweg Lorenzos von Juli 1983 bis Ende 1992. Er endet mit einem Standbild, in dem der eingeblendete Text darauf hinweist, dass Lorenzo weiter Fortschritte macht und sich schon durch Laute bemerkbar machen kann.


Wieland Giebel (2004)

The Making of Berlin


Tony Gilroy, Sidney Pollack (2007)

Michael Clayton

Michael Clayton is a 2007 American legal thriller film written and directed by Tony Gilroy, starring George Clooney, Tom Wilkinson, Tilda Swinton and Sydney Pollack. The film chronicles the attempts by attorney Michael Clayton to cope with a colleague's apparent mental breakdown, and the corruption and intrigue surrounding a major client of his law firm being sued in a class action case over the effects of toxic agrochemicals.


Wolfgang Staudte (1946)

Die Mšrder sind unter uns

Der Film spielt im Jahr 1945 im zerbombten Berlin. Der ehemalige MilitŠr-Chirurg Dr. Hans Mertens (Ernst Wilhelm Borchert) kehrt nach dem Krieg zurŸck nach Berlin und lebt in einem Mehrparteienhaus. Mit den kaputten Fenstern ist in der Wohnung nur ein sehr karges Leben mšglich. Mertens leidet noch unter den schrecklichen Kriegserinnerungen und wird zum Alkoholiker. FŸr seine Mitmenschen hat er nur Sarkasmus Ÿbrig. Die junge Fotografin Susanne Wallner (Hildegard Knef), eine KZ-Überlebende, findet ihn in ihrer alten Wohnung vor, und beide werden Mitbewohner. WŠhrend Susanne versucht, zur NormalitŠt zurŸckzukehren, ist Mertens noch nicht dazu bereit und betrinkt sich regelmŠ§ig. Erst langsam entwickelt er freundschaftliche und dann auch liebevolle GefŸhle fŸr sie. Susanne liebt ihn ebenfalls und wartet darauf, dass er sich ihr šffnet. Bald darauf begegnet Mertens seinem ehemaligen Hauptmann Ferdinand BrŸckner (Arno Paulsen). Dieser ist ein beliebter BŸrger und erfolgreicher GeschŠftsmann, der aus alten Stahlhelmen Kochtšpfe produziert. Er ist hocherfreut, den "Kriegskameraden" Mertens wiederzusehen, und lŠdt ihn zum Essen ein. Zusammen mit seiner Ehefrau und seinen Sšhnen fŸhrt er wieder ein gutbŸrgerliches Leben. Zu einem spŠteren Anlass schlŠgt BrŸckner Mertens vor, gemeinsam in ein Bordell zu gehen. Mertens geht mit diesem durch eine einsame Gegend, wo er BrŸckner erschie§en will. Dort taucht eine besorgte Mutter auf und Ÿberredet Mertens, ihre Tochter durch eine Operation zu retten. BrŸckner vergnŸgt sich zu dieser Zeit mit leichten MŠdchen. Das GefŸhl, ein Leben gerettet zu haben, fŸhrt bei Mertens zu einer Stimmungsaufhellung. Am Weihnachtsabend 1945 verfinstert sich seine Stimmung wieder; er verlŠsst die gemeinsame Wohnung und sagt Susanne, dass er sich noch um etwas kŸmmern mŸsse. Die Erinnerung an den Weihnachtsabend 1942 kommt wieder bei Dr. Mertens hoch. BrŸckner lie§ Ÿber einhundert Zivilisten aus einer polnischen Ortschaft erschie§en. Mertens hatte noch versucht, ihn davon abzubringen. Anschlie§end feierte BrŸckner unbeschwert zusammen mit seinen Soldaten den Weihnachtsabend. Mertens wartet die betriebliche Weihnachtsfeier BrŸckners ab und kŸndigt diesem an, ihn zu erschie§en. BrŸckner, der sich keiner Schuld bewusst wird, wird von Susanne Wallner gerettet. Diese hatte Mertens’ Tagebuch gelesen und gesehen, was er vorhatte. Wallner sagt Mertens, dass man nicht selber richten, sondern nur anklagen dŸrfe. In der Schlussszene werden verschiedene Motive Ÿbereinandergeblendet: Ermordete Zivilisten, BrŸckner im GefŠngnis, Soldaten und MassengrŠber.


Ousman Sembene



The film is set in a colourful Burkina Faso village dotted with termite mounds, and a mosque made from clay that resembles a gigantic hedgehog. The village is a symbol of green Africa, a time capsule that nonetheless is not immune to the influences of the outside and ‘modern’ world.[4]

Collé is the second of her husband's three wives. She is the most intelligent, humorous, charming, and is also loved most by her husband, who is portrayed as a temperate enlightened man. Her nubile daughter, Amasatou, has become engaged, although she has not undergone female genital cutting, considered a prerequisite for marriage in the local tradition. Collé opposes this practice. This has led the elders in the village, women as well as men, to despise her daughter. Amasatou herself unceasingly requests to have her genitals cut to secure her social status and marriage acceptance, but Collé remains unmoved. She is willing to protect not only her daughter from the life-threatening genital cutting but also four little girls who join her to refuse the practice. Collé draws a symbolic line, the colorful rope Moolaadé, a "magical protection," across the gate of the family's premises. Moolaadé prevents the women elders who carry out the practice, and who have been searching for the girls, from entering the house.

In the beginning, the first wife seems to be against Collé's plan to protect the girls. However, later they become closer and she tells Collé that she also opposes female genital cutting. She feared making it known, but has been helping her all along, without anyone's notice.

While facing her daughter's request to be circumcised, Collé explains that she does not want her daughter to end up on the same road she travelled. Her first reason is that it has too many indefinite outcomes, some of which can be fatal. An even bigger reason is that Collé had two unsuccessful pregnancies before Amasatou, which caused her great physical and emotional pain and were almost fatal. In a flashback, there is a scene of her and her husband having sexual intercourse which it clear is causing her physical pain. He falls asleep, while she is unable to do so because the sexual intercourse brings unbearable pain for her rather than pleasure. She keeps biting her ring finger, symbol of her marriage, and dares not say a single word even when her finger bleeds. At dawn, she is still awake to wash her body, as well as her blood off the bed sheet.

If Collé represents African women who awaken to resist patriarchal control, then her daughter's fiance Ibrahima, a rich, upstanding, and open-minded young man living in France, one of Africa's former colonizers, who returns, filmically representing the enlightened elite educated abroad who is welcomed home and observes the barbaric tradition of his village home. His knowledge, money and technologies such as television are appreciated. He witnesses a funeral of two little girls, who desperately drowned themselves in a well to avoid the mutilation of their genitals. The girls' relatives are sad, but the incident does not lead the villagers to question the tradition. Ibrahima is shocked and worried by this scene which keeps fermenting in his mind. Meanwhile, Ibrahima's father wants him to renounce his engagement to Amasatou, and marry his innocent eleven-year-old cousin instead, who has already undergone female genital cutting. Ibrahima refuses to do so, recognizing such an act as child abuse, and visits Amasatou's house despite what the villagers say. He confirms her as his fiancée, regardless of her "impure" status according to the local tradition.

The African women's most important daily entertainment, besides sitting together and chatting under the tree shadow enjoying the cool air, is enjoying the radio which transmits news of the world and the music. Some incidents including Ibrahima's revolt against his father on the engagement and Collé's protection of the five little girls, including her own daughter, from the life-threatening female genital cutting in the village causes the elders to think that the atmosphere is bad. Collé's husband has lost the ability to control his own wife and the elders insist that he beat her with a leather whip in the presence of the community to restore order. The elders want her to utter the magic word so they can take away the four little girls from her protection but, no matter how hard her husband whips her, she endures, refusing to give her tormenters the satisfaction of a scream or cry. Opposite groups of women shout to her to revoke or to be steadfast, but no woman interferes. When she is on the verge of collapse, the merchant steps out and stops the whipping.

The womanizing merchant is called Mercenaire by people in the village. He is a war veteran who has become a merchant. When he converses with Ibrahima, he accuses him, his father, and his uncle of pedophilia and is suddenly no longer concerned about the money that he could possibly get from the rich young man. He is bringing all the plastic junk to the village; the junk is brightly and boldly colored as the magnificent costumes the people wear in Africa. He sells his stuff at extremely high prices (he even raises the prices when Ibrahima came to pay for his dad's bill). Later he is hunted out of the village and, when out of sight, murdered.[4]

During the whipping, one of the four girls' mother steals her daughter from Collé's house and sends her to get her genitals cut, although the little girl screams and tries to resist. The girl dies as a result of the cutting and her mother regrets her previous support of it. The other mothers all see the tragedy happen and thus change their minds and begin opposing genital cutting.

From the men's point of view, the radio is a bad influence on the women because it teaches them things from the outside world, such as the idea of equality. Therefore, the elders decide that all the radios in the village must be confiscated and burned. Although all the radios are supposed to be burned, some are hidden by the women of the village. The women are united because of the pain caused by the genital cutting. They are all mourning, they are all awakened, they seize the blade and pursue the genital cutters, shouting, "No more genital cutting!” Ibrahima stands up to his father, says he is not going to listen to him, and announces that he is going to marry Amasatou because he is proud of her. The end of the movie is the smoke of the burning radios, which speaks both to speaking out and repression of speech.


Fabiano Maciel, Sacha

Oscar Niemeyer: Das Leben ist ein Hauch

(A vida e um sopro)


Jacques Perrin, Jacques Cluzard, Michel Debats (2001)

Nomaden der LŸfte: Das Geheimnis der Zugvšgel

Die Aufnahmen wurden von sechs Kamerateams Ÿber einen Zeitraum von drei Jahren auf allen sieben Kontinenten gedreht und zeigen 50 Vogelarten, darunter Kanadagans, Wei§wangengans, Streifengans, Rothalsgans, Schneegans, Singschwan, Kranich, Mandschurenkranich, Wei§storch, Andenkondor, Wanderalbatros, Felsenpinguin, KŸstenseeschwalbe und Rosapelikan. Auf den enormen Distanzen werden alle Arten von Wetterbedingungen und Landschaftsarten durchflogen.

Die Všgel wurden auf die Kameraleute geprŠgt, einige der Arten sogar zum ersten Mal Ÿberhaupt, und an die BeobachtungsgerŠte wie Ultraleichtflugzeug, Gleitschirm, Hei§luftballon sowie Autos, MotorrŠder, Motorboote, einen ferngesteuerten Roboter und ein franzšsisches Marineschiff gewšhnt.

Die Musik von Bruno Coulais stammt von bulgarischen und korsischen SŠngergruppen sowie von Nick Cave und Robert Wyatt. Dabei wurde der Musik teilweise das Schlagen von FlŸgeln beigemischt, um dem Betrachter den Eindruck zu geben, er sei ein Mitglied der gezeigten Vogelgruppe. Die Originalmusik von Bruno Coulais greift immer wieder auf die Themen der anderen Songs des Soundtracks zurŸck. In The Red Forest hallen zum Beispiel die Melodien von To be by your Side und Masters of the Field nach.


Niki Caro (2005)

North Country

In 1989, Josey Aimes returns to her hometown in northern Minnesota with her children, Sam and Karen, after escaping from her abusive husband. She moves in with her parents, Alice and Hank. Hank is ashamed of Josey, who became pregnant at the age of 16, and believes that this was the result of Josey being promiscuous. The townspeople believe the same, which causes them not to allow Josey to blend in. Her only friends are Glory and Glory's husband Kyle Dodge. Glory, who works at the local iron mines (the town's main source of income), aids Josey in getting a job there. Glory and Kyle also allow Josey to stay at their place with her children, due to Josey's bad relationship with her father.

Josey quickly befriends the other female workers at the mine, who include Glory, Sherry and Big Betty, and becomes the target of provocations spearheaded by Bobby Sharp, Josey's high school boyfriend who also works at the mine. Her attempts to stop the provocations by reporting them to the mine's higher-ups only worsens matters, and soon all the women are being verbally and physically abused by men at the mine. Josey is also sexually harassed by many of them, including Bobby.

Josey's refusal to give in to her male co-workers' demands causes them to spread lies about her being promiscuous and trying to seduce them, which cause Josey to be further harassed not only by her father and the men's wives, but also by Sam, who starts believing that his mother is indeed promiscuous after discovering that he was the result of her teenage pregnancy. After even the mine's board of directors refuses to hear Josey's complaints about the way women are treated at the mine, she quits and asks Bill White, a lawyer friend of Kyle and Glory, to help her file a lawsuit against the company. Bill tells her that the best way to win a case like this is by convincing the other women to back up her statements in court. The women, however, are hesitant, as this would mean risking their jobs, and refuse. Josey also discovers that Glory has ALS (amyotrophic lateral sclerosis, more commonly known as Lou Gehrig's Disease.)

Hank is disappointed by Josey's decision, and Alice leaves him, tired of hearing him criticizing their daughter. Hank later attends a union meeting. Josey appears, hoping to address the miners and explain her reasons for suing the mine. When they refuse to hear her and start verbally abusing her, Hank stands up for his daughter and reprimands his co-workers for their rude treatment of Josey and all the women at the factory.

At the court, the mine's lawyers attempt to hold Josey's so-called "promiscuous" past against her, and have Bobby Sharp testify on how Sam is the fruit of a consensual sexual relationship between Josey and one of her teachers. Josey then reveals the truth: When she and Bobby were 16, they were caught skipping class and kissing by their teacher and were forced to stay after class as punishment. When detention ended, Bobby left first to start up his car, intending to give Josey a ride. While he was away, Josey was attacked and raped by her teacher. Bobby witnessed the rape and not knowing what to do, he left the school quickly. Josey got pregnant from the rape, but refused to abort the baby or give it away, and had Sam. Josey's lawyer Bill gets Bobby to admit he is lying about the sex being consensual.

Glory has come to the court in her wheelchair and from the back of the room her husband reads a letter saying she stands with Josey. Other women then stand up to support Josey's complaint. They are followed by more women, family members, and miners. With this, the mining company loses the case and is forced to pay the women for what they suffered, in addition to establishing a sexual harassment policy at the workplace. Josey, vindicated, thanks Bill for all that he has done for her and her family and departs to teach Sam how to drive, telling him that she intends to buy him a car on his 18th birthday.


Robert Wise (1959)

Odds Against Tomorrow

Odds Against Tomorrow is a 1959 film noir produced and directed by Robert Wise for HarBel Productions,[2] a company founded by the film's star, Harry Belafonte. Belafonte selected Abraham Polonsky to write the script, which is based on a novel by William P. McGivern. As a blacklisted writer Polonsky used a front, John O. Killens, a black novelist and friend of Belafonte's. In 1996, the Writers Guild of America restored Polonsky's credit under his real name.[3]

Odds Against Tomorrow is the first noir with a black protagonist.[4] It was the last time Wise shot black-and-white film in the standard aspect ratio, which "gave his films the gritty realism they were known for".[1]

David Burke (Ed Begley) is a former policeman who was ruined when he refused to cooperate with state crime investigators. He has asked hard-bitten, racist, ex-con Earl Slater (Robert Ryan) to help him rob an upstate bank, promising him $50,000 if the robbery is successful. Burke also recruits Johnny Ingram (Belafonte), a nightclub entertainer who doesn’t want the job but who is addicted to gambling and is in debt.

Slater, who is supported by his girlfriend, Lorry (Shelley Winters), finds out Ingram is black and refuses the job. Later, he realizes that he needs the money, and joins Ingram and Burke in the enterprise.

Tensions between Ingram and Slater increase as they near completion of the crime. Burke is seen by a police officer leaving the scene of the raid, and is mortally wounded in the ensuing shootout with local police, so he commits suicide by shooting himself. Slater is insensitive and cavalier about the death of Burke which incenses Ingram. Both Slater and Ingram begin to fight each other as they both try to evade capture by the police. Ingram and Slater escape and run into a nearby fuel storage depot. They chase after each other on the top of the fuel tanks. They exchange gunfire and ignite the fuel tanks and cause a large explosion. Afterwards, their corpses are indistinguishable from one another. The last scene focuses on a sign at the entrance of the fuel storage depot saying, "Stop, Dead End".


Mario Andreaccio (2003)

Paradies: Die Leidenschaft des Paul Gauguin

(Paradise Lost)

Paris, 1880. Paul Gauguin ist ein erfolgreicher Bšrsenmakler und geht nebenbei seiner gro§en Leidenschaft, dem Malen, nach. Als Camille Pissarro, ein von Gauguin geschŠtzter KŸnstler ihm gro§es Talent bescheinigt, beschlie§t Gauguin sein bisheriges Leben an den Nagel zu hŠngen und sich ganz seiner Leidenschaft hinzugeben. Das trifft besonders seine Frau Mette und ihre vier Kinder, hei§t es doch den bequemen Lebensstil aufzugeben und in eine kleine Wohnung au§erhalb der Stadt zu ziehen. Auf der Suche nach neuer Inspiration reist Gauguin nach Tahiti und kreiert revolutionierende Werke, die jedoch in der Öffentlichkeit auf UnverstŠndnis sto§en. Lediglich Mette und Pissarro halten noch zu ihm.


Roman Polanski (2002)

The Pianist

The Pianist is a 2002 historical drama film directed by Roman Polanski, scripted by Ronald Harwood and starring Adrien Brody.[1] It is based on the autobiographical book The Pianist, a World War II memoir by the Polish-Jewish pianist and composer Władysław Szpilman. The film is a co-production between Poland, France, Germany and the United Kingdom.

In September 1939, Władysław Szpilman, a Polish-Jewish pianist, plays on radio in Warsaw when the station is bombed during Nazi Germany's invasion of Poland at the outbreak of World War II. Hoping for a quick victory, Szpilman rejoices with family at home when learning that Britain and France have declared war on Germany. But Germany defeats Poland quickly and its troops enter Warsaw, where life for Jews deteriorates as the Nazi authorities prevent them from working or owning businesses and force them to wear blue Star of David armbands.

By November 1940, Szpilman and his family have been forced from their home into the overcrowded Warsaw Ghetto where conditions only get worse. People starve, the guards are brutal and corpses are left in the streets. On one occasion, the Szpilmans witness the SS kill an entire family during a łapanka (raid) in an apartment across the street.


Linda La Plante (1991 - 2006)

Prime Suspect

The series focuses on a no-nonsense female Detective Chief Inspector (DCI), Jane Tennison (played by Helen Mirren), who is attached to the Metropolitan Police, initially at the fictional Southampton Row police station. It is set mostly in London and the outer areas, with series 5 being set in Manchester. In later series, she is promoted to Detective Superintendent and reassigned to rotating duties, beginning with the vice squad in Soho. The series shows how she survives and negotiates in a male-dominated profession determined to see her fail with the support of her boss, Detective Chief Superintendent Mike Kernan and loyal Sgt. Richard Haskons. As mentioned in the behind-the-scenes documentary that accompanies "The Final Act" DVD, Jackie Malton, who was one of only four female DCIs at the time this series began, acted as an advisor to the writers.


Wolfgang Staudte (1959)

Rosen fŸr den Staatsanwalt

In den letzten Tagen des Zweiten Weltkrieges wird der Gefreite Rudi Kleinschmidt vom Kriegsgerichtsrat Dr. Wilhelm Schramm beschuldigt, zwei Dosen Scho-Ka-Kola-Schokolade (Fliegerschokolade) gestohlen zu haben. Kleinschmidt verteidigt sich damit, dass er die Schokolade von hollŠndischen SchwarzmarkthŠndlern gekauft habe. Schramm beantragt die Hšchststrafe wegen Diebstahls und Wehrkraftzersetzung, die Todesstrafe. Auf dem Weg zur Hinrichtung an einem Waldrand unterschreibt Schramm gerade das Urteil, um zu dokumentieren, dass es vollstreckt worden sei, als der Trupp von einem feindlichen Flugzeug angegriffen wird. Schramm und das Exekutionskommando fliehen. Der Wachmann lŠsst Rudi Kleinschmidt entkommen. Auf der Flucht fŠngt er das durch die Luft wirbelnde Blatt des Todesurteils mit der im Vorgriff unterschriebenen und gestempelten Vollzugsmeldung auf.

Nach dem Krieg schlŠgt sich Rudi mehr schlecht als recht als VerkŠufer von Trick-Spielkarten durch. In einem Sommergarten trifft er zwei Mšbelwagenfahrer, die ihn mit nach Hamburg nehmen wollen. Auf dem Weg dorthin kommen sie durch eine Stadt, in der Rudi anhalten lŠsst. Er kennt hier noch jemanden - die mittlerweile zur Lokal- und Pensionsbesitzerin aufgestiegene Lissy Flemming, die ihn bei sich aufnimmt. Als Rudi seine Trick-Spielkarten auf der Stra§e anpreist, kommt ihm einer der umstehenden Zuschauer merkwŸrdig bekannt vor. Es ist der ehemalige Kriegsgerichtsrat Schramm, der mittlerweile Oberstaatsanwalt ist. Schramm hatte bei der Entnazifizierung seine Rolle als MilitŠrjurist des NS-Regimes verschwiegen und wurde daher wieder in den Justizdienst Ÿbernommen.

Schramm herrscht zu Hause immer noch mit autoritŠren Vorkriegsansichten, schwŠrmt von den "alten Zeiten", schimpft auf die "amerikanische Negermusik" im Radio und kauft, sich verstohlen umblickend, am Zeitungsstand die "Deutsche Soldatenzeitung". Am Morgen des Tages wurde ihm ein Strau§ wei§er Rosen zugestellt. Seine Frau argwšhnte schon eine au§ereheliche Beziehung, doch Schramm beruhigte sie. Die Rosen stammen von der Frau des wegen antisemitischer €u§erungen beschuldigten Studienrates Zirngiebel und sind das verabredete Zeichen fŸr dessen gelungene Flucht. Schramm war der Meinung, doch "wegen sowas" keine Anklage erheben zu kšnnen; deshalb hatte er den Haftbefehl zurŸckgehalten und Zirngiebel dadurch die Flucht ermšglicht.

Auch Schramm ahnt, dass er Rudi kennt und lŠsst Erkundigungen Ÿber ihn einholen. Rudi hat den Beruf Schramms in Erfahrung gebracht und besucht eine seiner Gerichtsverhandlungen, um ihn noch einmal genauer anzusehen. WŠhrend der Verhandlung erhŠlt Schramm einen Zettel mit Rudis Personalien. Nach der Verhandlung beschuldigt Schramm Rudi, "etwas im Schilde" zu fŸhren, kann ihn aber immer noch nicht in seine Vergangenheit einordnen. Abends verliert Schramm fast všllig die Selbstkontrolle, da er immer noch nicht wei§, was mit diesem seltsamen Stra§enverkŠufer los ist, als sein Stiefsohn Werner spŠt nach Hause kommt und diesem bei Schramms Standpauke eine Dose "Scho-Ka-Kola" aus der Tasche fŠllt. Schramm erkennt nun, mit wem er es zu tun hat.


Josef von Baky, Fritz Kortner (1949)

Der Ruf

Der Ruf (internationaler Titel: The Last Illusion) ist ein tragischer Spielfilm des ungarischen Regisseurs Josef von Báky, basierend auf einem Drehbuch des šsterreichischen Regisseurs und Schauspielers Fritz Kortner. Der am 19. April 1949 im Berliner Marmorhaus uraufgefŸhrte Kinofilm nahm an den Internationalen Filmfestspielen von Cannes 1949 teil.

"Der Ruf" gehšrt zur Gattung der TrŸmmerfilme. Er handelt von einem jŸdischen Professor, der wenige Jahre nach Ende des Zweiten Weltkriegs aus 15-jŠhriger Emigration in den USA nach Deutschland zurŸckkehrt. Zwar erhŠlt er seine frŸhere Arbeitsstelle, macht aber wie viele andere RŸckkehrer die Erfahrung, dass sowohl frŸhere Arbeitskollegen als auch seine Familie die verinnerlichten reaktionŠren und nationalsozialistischen Auffassungen nicht abgelegt haben und erfŠhrt daher Schikane und Ablehnung. Im zermŸrbenden Kampf gegen diese Einstellungen stirbt er.

Die Hauptrolle des Professors Mauthner wird von Fritz Kortner selbst gespielt. Die Handlung des Films trŠgt ZŸge seines Lebens: Kortner, eigentlich Fritz Nathan Kohn, war ebenfalls Jude, aus dem Dritten Reich in die USA emigriert und Ende 1947 nach Deutschland zurŸckgekommen. In weiteren Rollen sind beispielsweise Johanna Hofer, Rosemary Murphy, Charles Regnier, Lina Carstens, William Sinningen, Michael Murphy, Ernst Schršder, Paul Hoffmann, Arno Assmann, Alwin Edwards, Harald Mannl, Friedrich Domin, Hans Fitze, Fritz Benscher, Hans Clarin, Annemarie Holtz, Walter Janssen, Georg Lehn, Wolfried Lier, Angelika Schrobsdorff zu sehen. Die Kamera fŸhrte Werner Krien, die Filmmusik stammt von Georg Haentzschel, als Szenenbildner wirkte Fritz Maurischat. Wolfgang Becker schnitt den Film und assistierte bei der Regie. Produktionsfirma war die von Josef von Báky gegrŸndete Objectiv-Film GmbH in MŸnchen-Geiselgasteig, Produktionsleiter Richard Kšnig.

Eine Besonderheit des Films ist, dass die Figuren je nach Situation deutsch oder englisch sprechen, was fŸr das USA-Exil der Hauptfigur sowie allgemein fŸr die Zeit der damaligen Besatzung Deutschlands durch u.a. die US-Amerikaner realistisch ist.


Alexander Sokurov (2002)

Russian Ark

Russian Ark is a 2002 historical drama film directed by Alexander Sokurov. It was filmed entirely in the Winter Palace of the Russian State Hermitage Museum using a single 96-minute Steadicam sequence shot.

On a winter's day, a small party of men and women arrive by horse-drawn carriage to a minor, side entrance of the Winter Palace. The narrator (whose point of view is always in first-person) meets another spectral but visible outsider, "the European", and follows him through numerous rooms of the palace. Each room manifests a different period of Russian history, but the periods are not in chronological order.

Featured are Peter the Great harassing one of his generals; a spectacular presentation of operas and plays in the era of Catherine the Great; an imperial audience in which Tsar Nicholas I is offered a formal apology by the Shah of Iran for the death of Alexander Griboedov, an ambassador; the idyllic family life of Tsar Nicholas II's children; the ceremonial changing of the Palace Guard; the museum's director whispering the need to make repairs during the rule of Joseph Stalin; and a desperate Leningrader making his own coffin during the 900-day siege of the city during World War II.

A grand ball follows, featuring music by Mikhail Glinka, with many of the participants in spectacular period costume, and a full orchestra conducted by Valery Gergiev, then a long final exit with a crowd down the grand staircase.

The narrator then leaves the building through a side exit and sees an endless ocean, but does not look back or see the building, which can be interpreted as an ark preserving Russian culture as it floats in the sea of time.


Simon Schama (2007)

Simon Schama's Power of Art

Each of the eight one hour episodes examines the biography of an artist and his key work through Schama's considerations and some reenactments:

  1. Caravaggio - David with the Head of Goliath (c. 1610)
  2. Bernini - Ecstasy of Saint Teresa (1657)
  3. Rembrandt - The Conspiracy of Claudius Civilis (1662)
  4. David - The Death of Marat (1793)
  5. Turner - The Slave Ship (1840)
  6. Van Gogh - Wheatfield with Crows (1890)
  7. Picasso - Guernica (1937)
  8. Rothko - Black on Maroon (1958)

The role of Caravaggio was performed by Paul Popplewell, while van Gogh was played by Andy Serkis.


Jacques Tati (1958 ff)

Mein Onkel (Mon oncle), Tatis Herrliche Zeiten (Playtime), Die Ferien des Monsieur Hulot (Les vacances de M. Hulot), Tatis SchŸtzenfest (Jour de fete)

Mein Onkel (Originaltitel: Mon oncle) ist eine franzšsische Filmkomšdie von Jacques Tati aus dem Jahr 1958. Tati verkšrpert in dieser Satire, die die sterile und automatisierte moderne Welt karikiert, nach Die Ferien des Monsieur Hulot zum zweiten Mal den tollpatschigen Au§enseiter Monsieur Hulot. Mein Onkel wurde zu Tatis grš§tem Erfolg.


Alastair Reid (1989)


The Hamburg police arrest an international businessman, charging him with smuggling heroin from Pakistan. While he's on trial, his trophy wife, a former Olympic swimmer, discovers steely ruthlessness within herself. In Pakistan, the British home minister tours the poppy-eradication project and returns to London to find that his daughter is a heroin addict. While trying to save her, and helped by a crusading attorney, he learns the limits of government policy. Fazal, a peasant burned off his land where he farmed poppies, goes to Karachi and works for Tarik Butt, a murderous drug lord. Fazal's frankness and sense of worth are his strength and his liability. Stories cross and collide.

Quelle: IMDB


Thomas Grube (2008)

Trip to Asia

Trip to Asia zeigt Einblicke in das Innenleben der Berliner Philharmoniker, die als eines der besten Orchester der Welt gelten. Die Filmemacher haben das Orchester dafŸr auf seiner Asien-Tournée 2005 durch die StŠdte Beijing, Seoul, Shanghai,Hongkong, Taipeh und Tokio begleitet.


Hugo Kitch (1999)

Turandot (Oper von G. Puccini) at the Forbidden City

Zubin Mehta (conductor), Orchestra and Chorus of the Maggio Musicale Fiorentino


Sidney Lumet (1982)

The Verdict


Sydney Pollack, Arthur Laurents (1973)

The Way We Were

The Way We Were is a 1973 American romantic drama film, starring Barbra Streisand and Robert Redford, and directed by Sydney Pollack. The screenplay by Arthur Laurents was based on his college days at Cornell University and his experiences with the House Un-American Activities Committee.

Told partly in flashback, it is the story of Katie Morosky (Barbra Streisand) and Hubbell Gardiner (Robert Redford). Their differences are immense: she is a stridently vocal Marxist Jew with strong anti-war opinions, and he is a carefree WASP with no particular political bent. While attending the same college, she is drawn to him because of his boyish good looks and his natural writing skill, which she finds captivating, although he doesn't work very hard at it. He is intrigued by her conviction and her determination to persuade others to take up social causes. Their attraction is evident, but neither of them act upon it, and lose touch after graduation.

The two meet again at the end of World War II while Katie is working at a radio station, and Hubbell, having served as a naval officer in the South Pacific, is trying to return to civilian life. They fall in love despite the differences in their background and temperament. Soon, however, Katie is incensed by the cynical jokes Hubbell's friends make at the death of FDR and is unable to understand his acceptance of their insensitivity and shallow dismissal of political engagement. At the same time, his serenity is disturbed by her lack of social graces and her polarizing postures. Hubbell breaks it off with Katie, but, soon, agree to work things out.

When Hubbell seeks a job as a Hollywood screenwriter, Katie believes he's wasting his talent and encourages him to pursue writing as a serious challenge instead. Despite her growing frustration, they move to California, where he becomes a successful albeit desultory screenwriter, and the couple enjoy an affluent lifestyle. As the Hollywood blacklist grows and McCarthyism begins to encroach on their lives, Katie's political activism resurfaces, jeopardizing Hubbell's position and reputation.

Alienated by Katie's persistent abrasiveness, Hubbell has a liaison with Carol Ann, his college girlfriend and the departing ex-wife of his best friend J.J., even though Katie is pregnant. Katie and Hubbell decide to part when she finally understands he is not the man she idealized when she fell in love with him and will always choose the easiest way out, whether it is cheating in his marriage or writing predictable stories for sitcoms. Hubbell, on the other hand, is exhausted, unable to live on the pedestal Katie erected for him and face her disappointment in his decision to compromise his potential.

Katie and Hubbell meet by chance some years after their divorce, in front of the Plaza Hotel in New York City. Hubbell, who is with a stylish beauty and apparently content, is now writing for a popular sitcom as one of a group of nameless writers. Katie has remained faithful to who she is: flyers in hand, she is agitating for the newest political causes.

Katie, now re-married, invites Hubbell to come for a drink with his lady friend, but he confesses he can't. Katie's response acknowledges what they both finally understand: Hubbell was at his best when he was with her, and no one will ever believe in him or see as much promise in him as she once did. Their past is behind them; all the two share now (besides their daughter, whom they name Rachel) is a memory of the way they were.


Das Weihnachtsspektakel 2007


Raul Ruiz (1999)

Die wiedergefundene Zeit (Les temps retrouve) nach Marcel Proust: Auf der Suche nach der verlorenen Zeit

Paris 1922: Der von Alter und Krankheit gezeichnete Schriftsteller Marcel Proust liegt in seinem Bett und diktiert seiner HaushŠlterin Celeste. WŠhrend er sich alte Fotos anschaut, beginnt er, sich an sein Leben im Kreise der dekadenten Pariser Gesellschaft Anfang des 20. Jahrhunderts zu erinnern. Dabei vermischen sich seine Erinnerungen an die Menschen, die ihm als Vorlagen fŸr die Romanfiguren seines Hauptwerks Auf der Suche nach der verlorenen Zeit dienten. Er begegnet ihnen wechselweise als Kind, Jugendlicher und Erwachsener.

Die schšne Gilberte brachte ihm einst die Liebe bei. Ihre Mutter Odette hatte zahlreiche Liebschaften. Auch den Frauen war sie dabei nicht abgeneigt. In ihr sieht Proust dennoch das Ideal von einer Frau und die ewige Jugend. Auch die liebreizende Schauspielerin Albertine hatte es ihm einst angetan. In seiner Fantasie trifft Proust mehrfach auf den zynischen und homosexuellen Baron de Charlus. Mit dem jungen Pianisten Morel, der trotz des Ersten Weltkriegs am liebsten Beethoven spielt, hatte Charlus eine Beziehung. Morel wandte sich jedoch von ihm ab und geht ihm nunmehr aus dem Weg. Eines Abends lŠuft Proust durch die Stra§en von Paris. Um sich ein wenig Rast zu gšnnen, sucht er schlie§lich eine Pension auf. Aus einem Nebenzimmer hšrt er plštzlich GerŠusche. Neugierig schaut er durch eine runde Öffnung in ebendieses Zimmer, wo sich Charlus von einem Mann auspeitschen lŠsst und diesen anschlie§end fŸr seine Dienste bezahlt.

Neben der Literatur, der Liebe und dem Wandel der Zeit beschŠftigt Prousts Geist stets auch der Krieg. Immer wieder hšrt er die Sirenen, die vor den feindlichen Truppen warnen. Gilbertes Mann Robert berichtet ihm von den Soldaten und wie selbst einfachste MŠnner sich im SchŸtzengraben als Helden erweisen. Morel wird derweil als Deserteur von der Polizei gesucht. Proust nimmt auch an einer Reihe von Beerdigungen teil. Indem er die VergŠnglichkeit akzeptiert, verliert er letztlich die Furcht vor dem eigenen Tod. Es beschleicht ihn jedoch die Angst, sein literarisches Werk nicht vollenden zu kšnnen. Mit Hilfe der Fiktion die RealitŠt zu Ÿberwinden - darin erkennt er den Sinn seiner Existenz.


Kurt Hoffmann (1958)

Wir Wunderkinder

basiert auf dem 1957 veršffentlichten satirischen Roman gleichnamigen Titels von Hugo Hartung

Der Zuschauer verfolgt den Lebensweg des jungen Hans Boeckel Ÿber 40 Jahre (1913 bis 1957): von der - vermeintlichen - Begegnung seines Klassenkameraden Bruno Tiches mit Kaiser Wilhelm II. bis zur bundesrepublikanischen Wirtschaftswunderzeit. Boeckel wird Journalist, verliert seine Stellung aber unter dem Nationalsozialismus, den er fŸr ein vorŸbergehendes PhŠnomen hŠlt. Seine erste Freundin Vera emigriert mit ihrem Vater, ebenso sein jŸdischer Schulfreund. Er heiratet die DŠnin Kirsten, die ihm mit ihrer Familie Ÿber die schwere Zeit hilft, bis er schlie§lich in den 1950er Jahren wieder erfolgreich fŸr eine Zeitung arbeitet. Kontrastiert wird seine Geschichte mit der seines sinistren Schulfreundes Bruno Tiches, der es mit Opportunismus vom NS-FunktionŠr Ÿber den SchwarzhŠndler bis zum Generaldirektor bringt.


William Amtz (2004)

What the Bleep Do We Know?

stylized as What tнē #$*! D̄ө ωΣ (k)πow!? and What the #$*! Do We Know!?, it combines documentary-style interviews, computer-animated graphics, and a narrative that posits a spiritual connection between quantum physics and consciousness. The plot follows the story of a photographer as she encounters emotional and existential obstacles in her life and begins to consider the idea that individual and group consciousness can influence the material world. Her experiences are offered by the filmmakers to illustrate the movie's thesis about quantum physics and consciousness.


Joe Wright (2007)


... chronicles a crime and its consequences over the course of six decades, beginning in the 1930s.

In 1935, Briony Tallis, a 13-year-old girl from a wealthy English family, has just finished writing a play. As Briony attempts to stage the play with her cousins, they get bored and decide to go swimming. Briony stays behind and witnesses a significant moment of sexual tension between her older sister, Cecilia, and Robbie Turner, a servant's son, a man that Briony has a childish crush on. Robbie returns home and writes several drafts of letters to Cecilia, including one that is explicit and erotically charged. He does not, however, intend to send it and sets it aside. On his way to join the Tallis family celebration, Robbie asks Briony to deliver his letter, only to later realise that he has mistakenly given her the prurient draft. Briony secretly reads the letter and is simultaneously disgusted and jealous.

That evening, Cecilia and Robbie meet in the library, where they make love and then confess their love for one another. During the act, Briony watches through the partially open door and her confused emotions about Robbie become heightened. At dinner it is revealed that the twin cousins have run away. Briony goes off alone into the woods looking for them and stumbles upon a man running away from apparently raping her teenage cousin Lola. Lola claims that she does not know the identity of her attacker. In a fit of pique, the still-hurt Briony tells everyone, including the police, that she saw Robbie commit the act. She shows Robbie's shocking letter to her mother. Everyone believes her story except for Cecilia and Robbie's mother. Robbie is arrested and sent to prison.

Decades later, an elderly Briony reveals in an interview that she is dying of vascular dementia, and that her novel, Atonement, which she has been working on for most of her adult life, will be her last. Briony reveals that the book's ending where she apologised to Cecilia and Robbie is fictional. Cecilia and Robbie never saw each other again once he left for war. In reality, Robbie actually died at Dunkirk of septicemia while awaiting evacuation, and Cecilia died a few months later as one of the flood victims in the Balham tube station bombing during The Blitz.


Nickolaus Lehnhoff (2007)

Boulevard Solitude (Oper von H.W. Henze)

Mit der 1952 in Hannover uraufgefŸhrten abendfŸllenden Oper Boulevard Solitude, einer modernen Version des Manon-Lescaut-Stoffes, etablierte H.W. Henze sich endgŸltig als einer der fŸhrenden Komponisten seiner Generation.


Edward Zwick (1996)

Courage under Fire

Lieutenant Colonel Nathaniel Serling (Denzel Washington) was involved in a friendly fire incident in Al Bathra during the Gulf War. He was an M1 Abrams tank battalion commander who, during the nighttime confusion of Iraqi tanks infiltrating his unit's lines, gave the order to fire, destroying one of his own tanks and killing his friend Captain Boylar. The details were covered up (Boylar's parents were told that their son was killed by enemy fire), and Serling was shuffled off to a desk job.

Later, he is assigned to determine if Army Captain Karen Emma Walden (Meg Ryan) should be the first woman to receive (posthumously) the Medal of Honor for valor in combat. A Medevac Huey commander, she was sent to rescue the crew of a Black Hawk that had been shot down. Finding them under heavy fire from an Iraqi T-54 tank and infantry, her men dropped an auxiliary fuel bladder on the tank and ignited it with a flare gun. Shortly after, her helicopter was also hit and downed. The two crews were unable to join forces. The survivors were rescued the next day, but Walden had been killed.

At first, everything seems to be straightforward, but Serling begins to notice inconsistencies between the testimonies of the witnesses.


Fred Zinnemann (1973)

The Day of the Jackal

Based on the 1971 novel The Day of the Jackal by Frederick Forsyth, the film is about a professional assassin known only as the "Jackal" who is hired to assassinate French president Charles de Gaulle in the summer of 1963.[1]

In the Paris suburb of Petit-Clamart on 22 August 1962, an assassination attempt is made on the President of France General Charles de Gaulle by the militant French underground organisation OAS in anger over the French government granting independence to Algeria. As the president's motorcade passes, de Gaulle's unarmoured Citroën DS car is raked with machine gun fire, but the entire entourage escapes without injury. Within six months, OAS leader Jean Bastien-Thiry and several other members of the plot are captured and executed.

The remaining OAS leaders, now exiled in Vienna, decide to make another attempt, and hire a professional British assassin (Edward Fox) who chooses the code name "Jackal". Agreeing to the killer's demand of half a million US dollars for his services, the OAS leaders order several bank robberies to raise the money. Meanwhile, the Jackal begins to plan his assassination of the highly-protected French president. He travels to Genoa and commissions a custom-made rifle and fake identity papers. As a professional, he spares the reliable gunsmith, but kills the forger who attempts to blackmail him. In Paris, he sneaks an impression of the key to a flat that overlooks the Place du 18 Juin 1940.

In Rome, where the OAS team have moved, members of the French Action Service identify and kidnap the OAS chief clerk Viktor Wolenski (Jean Martin). Using torture, they extract some elements of the assassination plot, including the word "Jackal", and report their findings to the Interior Minister (Alan Badel) who convenes a secret cabinet meeting of the heads of the French security forces. When asked to provide his best detective, the Police Commissioner Berthier (Timothy West) recommends his own deputy, Claude Lebel (Michael Lonsdale). Soon after, Lebel is given special emergency powers to conduct his investigation, which is complicated by de Gaulle's express orders for secrecy and his refusal to change any of his upcoming public appearances.

As the investigation progresses, one of the cabinet members, St. Clair (Barrie Ingham), unknowingly discloses the government's knowledge of the plot to his new mistress Denise (Olga Georges-Picot), an OAS plant who immediately passes this information on to her contact. Meanwhile, Lebel uses an old boy network of police agencies in other countries to determine that suspect "Charles Calthrop" may be travelling under the name "Paul Oliver Duggan", who appears in British records as someone who died as a child. Learning that "Duggan" has crossed into France, Lebel orders his men to search all hotel registrations in an effort to locate the killer.

After learning from his OAS contact that his code name is known, the Jackal still decides to carry on with his plan. He meets and seduces Colette de Montpellier (Delphine Seyrig) in a hotel in Grasse. Just before Lebel and his men arrive, the Jackal eludes his pursuers in his Alfa Romeo Giulietta Spider, and drives to Madame de Montpellier's estate. After sleeping with her again and discovering that the police had talked to her, he strangles her. The Jackal then assumes the identity of a bespectacled Danish school teacher, Per Lundquist, using a stolen Danish passport. He drives Madame de Montpellier's Renault Caravelle to the station at Tulle and catches a train for Paris.

After Madame de Montpellier's body is discovered, and her car is recovered at the Tulle train station, Lebel initiates an open manhunt for a murderer—his investigation no longer hindered by forced secrecy. After checking the train schedule, he rushes to the Paris Austerlitz railway station, just a few minutes after the Jackal arrived. Looking to avoid hotels that are now being monitored, the Jackal goes to a Turkish bathhouse, where he allows himself to be picked up by a man and taken to the man's flat. The next day, the Jackal kills the man after the man learns from a television news flash that "Lundquist" is wanted for Madame de Montpellier's murder.

Meanwhile, at a meeting with the Interior Minister's cabinet, Lebel admits that the Jackal has not checked into any Paris hotel under his new identity. He informs the cabinet that they have three days to find the killer, who will most likely attempt to shoot de Gaulle on Liberation Day, 25 August, during the ceremony honoring members of the French Resistance. Later, Lebel plays a tape recording of a phone call made from the house of one of the cabinet members. The cabinet hears St. Clair's mistress passing along information about the manhunt to her OAS contact. St. Clair acknowledges that the call was made from his house and leaves in disgrace. Later, he kills himself, and his mistress is caught.

On Liberation Day, the Jackal, disguised as an elderly veteran amputee, is allowed access to the building he had cased earlier. He assembles his custom-made rifle, which was cleverly concealed in one of his crutches, and takes up a position at a window in an upper apartment. When de Gaulle enters the square to present medals to veterans of the Resistance, the Jackal takes aim. Downstairs, Lebel questions the policeman who allowed the disguised Jackal to pass, and the two run to the building. As de Gaulle presents the first medal, the Jackal shoots just as the president leans down to kiss the recipient on the cheek, and the bullet misses. When Lebel and the policeman burst into the apartment, the Jackal turns and shoots the policeman, killing him. As the Jackal tries to re-load, Lebel picks up the policeman's submachine gun and kills the Jackal.

Back in Britain, the real Charles Calthrop enters his flat surprising the police, who realise the Jackal's real name was not Charles Calthrop after all. In fact, they now realize the killer could have been pretending to be British, just as he pretended to be Danish and French. At the cemetery, Lebel watches as the Jackal's coffin is lowered into a grave. The authorities wonder, "But if the Jackal wasn't Calthrop, then who the hell was he?"


Krzysztof Kieslowski (1989)

The Decalogue I - III (Die 10 Gebot)


Petra Hšfer

Deutschland von oben


Bremerhaven 1968 - 2002


Yann Arthus-Bertrand (2009)

Die Erde von oben

1. Artenvielfalt

2. Erde und Ressourcen

3. Wasser

5. Nahrung fŸr die Welt


Josef von Baky, Erich KŠstner (1950)

Das doppelte Lottchen

Zwei zehnjŠhrige MŠdchen, die freche Luise Palfy aus Wien und die hšfliche, bescheidene Lotte Kšrner aus MŸnchen, treffen in einem Ferienheim fŸr MŠdchen in SeebŸhl am BŸhlsee aufeinander. Sie kšnnen sich anfangs Ÿberhaupt nicht ausstehen, weil sie sich so Šhnlich sehen. Nach einigen Nachforschungen stellt sich dann heraus, dass die beiden Zwillinge sind und durch die Scheidung ihrer Eltern auseinandergerissen wurden. Luises Vater ist Komponist in Wien, und Lottes Mutter, die wieder ihren alten Familiennamen angenommen hat, arbeitet in MŸnchen.

Am Ende der Ferien vertauschen die Zwillinge ihre Rollen, was wegen der unterschiedlichen FŠhigkeiten und Charaktereigenschaften zu einiger Verwirrung bei ihren nichtsahnenden Eltern fŸhrt. Als Lotte erfŠhrt, dass ihr Vater wieder heiraten will, wird sie vor Kummer krank. Die Mutter erfŠhrt durch einen Zufall von der Begegnung der Schwestern und schlie§lich auch von der Krankheit. Mutter und Luise fahren nach Wien, wo die Familie wieder zusammenfindet.


John Patrick Shanley (2008)


Set in 1964 at a Catholic church in the Bronx, New York. ...Under the pretext of discussing the school's upcoming Christmas pageant, Sisters Aloysius and (to a lesser extent) James voice their suspicions that Father Flynn's relationship with Donald may be inappropriate. Several times, Father Flynn asks them to leave the matter alone as a private issue between the boy and himself, but Sister Aloysius persists.

Despite having no evidence and no support from anyone, Sister Aloysius again confronts Father Flynn and demands that he tell her the truth; otherwise, she will go to the Bishop. Father Flynn is adamant that there is no illicit relationship, but Sister Aloysius claims that she has learned that he has a history of problems, having moved to three different parishes in the last five years. She tells him that she has contacted a nun from one of his prior churches (she refuses to say whom), who corroborated her suspicions. Father Flynn is furious that she has contacted a nun rather than the church's pastor, which is proper church protocol. Sister Aloysius tells him he doesn't deserve to wear the collar, and asks for his resignation. Unable to stand up to her determination to ruin his reputation, he succumbs to her demands.

Following his final sermon, Father Flynn steps down from the pulpit and shakes hands with the members of the congregation. Some time later, Sisters Aloysius and James are sitting together in the church garden. Sister Aloysius tells Sister James that although Father Flynn resigned, the bishop has appointed him to pastor at a larger church and its parochial school, in essence promoting him to a more prestigious position and perpetuating the same issue with Father Flynn. She then admits she lied about speaking to a nun at Father Flynn's former church, and thus drove him out with no more than her suspicions; her justification is that if Father Flynn truly were innocent of wrongdoing, he would not have given in. Repeating a line from earlier in the film, Sister Aloysius says that "in the pursuit of wrongdoing, one steps away from God."

Sister Aloysius concludes that she has paid a price in pursuing the wrongdoing of Father Flynn. While discussing her inability to fully expose Father Flynn and have him dismissed from the diocese as a whole, she reflects upon her larger faith in the diocese as she breaks down in tears and says to Sister James: "I have doubts...I have such doubts." The film ends with Sister James comforting Sister Aloysius.


Krzysztof Kieslowski, Agnieszka Holland (1993)

Drei Farben: Blau

Das Thema des ersten Films der Trilogie ist die Freiheit. Blau ist der intensivste der drei Filme, er wird vom GefŸhl des Schmerzes dominiert. Der Film beginnt mit einem schweren Verkehrsunfall. Die allein Überlebende Julie, die dabei ihre einzige Tochter und ihren Mann, einen berŸhmten Komponisten, verliert, versucht danach nicht, sich mit der Situation zurechtzufinden und ihre Trauer zu bewŠltigen, sondern bricht radikal mit dem bisherigen Leben, versucht vor der eigenen Erinnerung zu flŸchten und baut sich eine vollkommen neue Existenz auf. Sie geht nach Paris, um ein Leben fast ohne Kontakt zu anderen Menschen zu fŸhren. Sie beauftragt einen Makler, den Landsitz, auf dem die Familie lebte, zu verkaufen, und vernichtet alte Notationen ihres Mannes. Im Laufe der Handlung gelingt es ihr jedoch nicht, diese Lebensweise durchzuhalten. Die Freiheit, die die Protagonistin wŠhlt, indem sie sich von allen Dingen des vorherigen Lebens trennen mšchte, fŸhrt nicht zum gewŸnschten Ziel. Erst als sie sich auf die Vergangenheit einlŠsst, Kontakt zu einem alten Freund aufnimmt und an der unvollendeten Komposition ihres Mannes weiterarbeitet, gelingt es ihr, sich von ihrem Schmerz zu befreien.


Fatih Akin (2007)

The Edge of Heaven

Auf der anderen Seite

Der zweite Teil beginnt am gleichen Tag wie der erste und mit Blick auf das gleiche Ereignis: einer Demonstration zum 1. Mai, allerdings in Istanbul, und kontrastiv angelegt als Gro§veranstaltung mit politischem Sprengstoff. Bei dieser wird ein verdeckt ermittelnder Polizist enttarnt und niedergeschlagen, wobei er seine Pistole verliert; diese landet bei Ayten, der es gelingt, sie auf einer Dachterrasse zu verstecken. Sie gehšrt zu einer Zelle linker Politaktivisten, die auffliegt, weil Ayten auf der Flucht ihr Handy verloren hat; zufŠllig ist sie bei der Verhaftung abwesend und beschlie§t, mit einem gefŠlschten Pass nach Deutschland zu fliegen und in Hamburg unterzutauchen. Als sie sich jedoch von der dortigen Kontaktgruppe im Streit trennt und eine erste Suche nach ihrer Mutter in Bremer SchuhlŠden fehlschlŠgt, steht sie allein und mittellos da. Auf dem Campus der UniversitŠt bittet sie die Studentin Lotte, ihr ein Mittagessen zu bezahlen, und bekommt viel mehr als erwartet. Lotte ist selbst auf der Suche: nach einer Aufgabe, nach Liebe, nach einer Bindung, die sie von ihrer Mutter abnabelt. So nimmt sie Ayten kurzerhand in die mŸtterliche Wohnung mit zu sich, hilft ihr bei der weiteren Suche nach Yeter und beginnt ein VerhŠltnis mit ihr. Bei einer polizeilichen Routinekontrolle jedoch gerŠt Ayten in Panik; sie flieht, wird gestellt und beruft sich auf ihr Asylrecht. Ihr Antragsverfahren, von Lottes Mutter Susanne finanziert, wird nach einem Jahr abschlŠgig beschieden; Ayten wird in die TŸrkei ausgewiesen.

Lotte folgt ihr und erfŠhrt, dass sie sofort inhaftiert wurde und ihr als Mitglied einer "bewaffneten Organisation" mšglicherweise 15 bis 20 Jahre GefŠngnis drohen. Durch die vage Aussicht auf eine Besuchserlaubnis getršstet, beschlie§t sie (gegen den Widerstand ihrer Mutter, die ihr weitere UnterstŸtzung verweigert) zu bleiben. Die Suche nach einer Unterkunft fŸhrt sie auch in Nejats Buchhandlung, der ihr anbietet, bei ihm zur Untermiete zu wohnen. Der Besuch im UntersuchungsgefŠngnis hingegen hat fatale Folgen. Ayten, der von ihrer Gruppe signalisiert wurde, die versteckte Pistole werde gebraucht, erliegt der Versuchung, Lottes Ergebenheit auszunutzen. Zwar gelingt es Lotte, die Pistole an sich zu bringen, doch wird ihr die UmhŠngetasche unterwegs von Stra§enjungen entrissen. Als sie diese schlie§lich stellt, wird sie von einem von ihnen erschossen.

Susanne fliegt nach Istanbul, um sich mit dem Tod ihrer Tochter auseinanderzusetzen. Sie trifft sich mit Nejat, Ÿbernachtet im Zimmer ihrer Tochter, liest ihr Tagebuch und bleibt. Indem auch sie Ayten besucht, setzt sie Lottes Mission fort und hat damit, wenngleich indirekt, Erfolg. Ayten bittet um Vergebung und bereut. Da sie ihre Reue auch der Justiz gegenŸber bekundet, wird sie freigelassen. ZurŸck in Istanbul, nimmt sie Susannes Angebot an, zunŠchst bei Nejat unterzukommen, dessen Wohnung und Buchhandlung er Susanne in seiner Abwesenheit Ÿbertragen hat. Nejat hatte erfahren, dass sein Vater Ali aus Deutschland abgeschoben worden ist, den Kontakt mit ihm jedoch vermieden habe (in der Annahme, er wolle ihn nicht) und nun unterwegs sei zu seinem Anwesen in Trabzon. Nejat folgt ihm. Als er hšrt, dass Ali zum Fischen ausgefahren ist, erwartet er ihn am Strand.


Darren Aronofsky (2006)

The Fountain

2006 American romantic drama film that blends elements of fantasy, history, religion, and science fiction..

At its core, The Fountain is the story of a 21st-century doctor, Tom Creo (Hugh Jackman), losing his wife Izzi (Rachel Weisz) to cancer in 2005. As she is dying, Izzi begs Tom to share what time they have left together, but he is focused on his quest to find a cure for her.

While he's working in the lab, she writes a story about 16th century Queen Isabella losing her territory to the Inquisition while her betrothed, conquistador Tomás Verde plunges through the Central America forest in Mayan territory, searching for the Tree of Life for his Queen.

Since she does not have time herself, Izzi asks Tom to finish the story for her. As they look out to the stars, she imagines that their souls will meet there when the star dies. And we see astronaut Tommy, in 2500, travelling there for the event, in a spaceship made of an enclosed biosphere containing the Tree of Life.

The three story lines are told nonlinearly, each separated by five centuries. The three periods are interwoven with match cuts and recurring visual motifs; Hugh Jackman and Rachel Weisz play the main characters for all three narratives.[1] Even within a given narrative, the elements of that particular story are not told in chronological order.

Whether these stories are actual events, or symbolic, is not clarified; and, director Darren Aronofsky emphasized that the storylines in their time periods and their respective convergences were open to interpretation.[2] The director has said of The Fountain's intricacy and underlying message, "[The film is] very much like a Rubik's Cube, where you can solve it in several different ways, but ultimately there's only one solution at the end."[2] In a 2012 interview, Aronofsky stated that "ultimately the film is about coming to terms with your own death".[3]

Tomás the conquistador[edit]

One of the film's narratives takes place during the Spanish Inquisition, where public trials of heresy destroyed the lives of those accused.

The film opens with conquistador Tomás Verde in New Spain fighting a horde of Mayans to gain entry into a pyramid, where he is attacked by a Mayan priest with a flaming sword. Through flashbacks, it is revealed that the conquistador has been commissioned by Queen Isabella of Spain to travel to the New World in search of the Biblical Tree of Life.

Tommy the space traveler[edit]

The narrative for Tommy is set entirely in deep space in a small, self-contained biosphere bubble. Jackman's character in this plot is alone, flying in outer space toward the golden nebula of Xibalba with a large tree and a few personal effects inside his ship. While traveling, he meditates, performs t'ai chi, grows mushrooms and cuts pieces of bark from the tree for nourishment. He also converses with apparitions of Izzi from 2005.

The Fountain's theme of fear of death is "a movement from darkness into light, from black to white"[5] that traces the journey of a man scared of death and moving


Peter Weir (1981)


Gallipoli is a 1981 Australian film directed by Peter Weir and starring Mel Gibson and Mark Lee, about several young men from rural Western Australia who enlist in the Australian Army during the First World War. They are sent to the peninsula of Gallipoli in the Ottoman Empire (in modern-day Turkey), where they take part in the Gallipoli Campaign. During the course of the movie, the young men slowly lose their innocence about the purpose of war. The climax of the movie occurs on the Anzac battlefield at Gallipoli and depicts the futile attack at the Battle of the Nek on 7 August 1915.

Gallipoli provides a faithful portrayal of life in Australia in the 1910s—reminiscent of Weir's 1975 film Picnic at Hanging Rock set in 1900—and captures the ideals and character of the Australians who joined up to fight, as well as the conditions they endured on the battlefield. It does, however, modify events for dramatic purposes and contains a number of significant historical inaccuracies.

It followed the Australian New Wave war film Breaker Morant (1980) and preceded the 5-part TV series ANZACs (1985), and The Lighthorsemen (1987). Recurring themes of these films include the Australian identity, such as mateship and larrikinism, the loss of innocence in war, and the continued coming of age of the Australian nation and its soldiers (later called the ANZAC spirit).

The numerous running sequences in the film are set to Jean Michel Jarre's Oxygène.


Roman Polanski/Robert Harris (2010)

The Ghost Writer

An unnamed British ghostwriter (Ewan McGregor) is recruited to complete the memoirs of former Prime Minister Adam Lang (Pierce Brosnan). His predecessor on the project and Lang's long-term aide, Mike McAra, has recently died in an apparent accident. The writer travels to the fictional Massachusetts village of Old Haven on Martha's Vineyard, where Lang is staying with his wife, Ruth (Olivia Williams), and a staff of servants and security personnel. The writer is checked into a small hotel. Lang's personal assistant (and mistress), Amelia Bly (Kim Cattrall), forbids him to take McAra's manuscript outside, emphasizing that it is a security risk.

Shortly after the writer's arrival, Lang is accused by former Foreign Secretary Richard Rycart (Robert Pugh) of authorising the illegal seizure of suspected terrorists and handing them over for torture by the CIA, a possible war crime. Lang faces prosecution by the International Criminal Court unless he stays in the U.S. or any other country that does not recognise the court's jurisdiction. As reporters and protesters swarm the island, the writer is moved into McAra's old room at Lang's house, where personal belongings have not been cleared out yet. Lang then travels to Washington, D.C.. While clearing the room, the writer finds an envelope containing photographs of Lang's university days that suggest McAra may have stumbled across clues to a dark secret. Among the material is a handwritten phone number he rings and is answered by Rycart.


Wolfgang Becker (2003)

Good Bye, Lenin!

Der Film erzŠhlt die Erlebnisse der ostdeutschen Familie Kerner. Der Film beginnt im Sommer 1978, als sich der Familienvater in den Westen absetzt und seine Frau Christiane und die beiden Kinder Alexander und Ariane in der DDR zurŸcklŠsst. Zuerst von der Politik der DDR nicht sehr begeistert, beginnt Christiane nach schweren Depressionen, sich - nicht ganz freiwillig, da man ihr drohte, ihr die Kinder wegzunehmen - fŸr den Sozialismus einzusetzen. Sie wird im StaatsratsgebŠude als "verdienstvolle Persšnlichkeit" ausgezeichnet.

FŸr den 7.Oktober 1989 erhŠlt die Mutter eine Einladung zum Festakt anlŠsslich des 40. Jahrestages der DDR im Palast der Republik. Auf dem Weg dorthin wird sie zufŠllig Zeugin einer Demonstration, an der sich auch ihr Sohn Alexander beteiligt. Als sie mit ansieht, wie die Demonstration von der Volkspolizei zerschlagen und Alexander festgenommen wird, erleidet sie einen Herzinfarkt, bricht zusammen und fŠllt ins Koma.

Wenige Wochen spŠter fŠllt die Mauer. Auch sonst Šndert sich einiges fŸr die Kerners. Alexanders Betrieb wird abgewickelt, er ist nunmehr Vertreter fŸr SatellitenschŸsseln. Au§erdem verliebt er sich in die russische Krankenschwester Lara. Seine Schwester Ariane bricht ihr Studium ab und verliebt sich in einen Westdeutschen, der mit in die Plattenbauwohnung der Familie einzieht. Im Juni 1990, als Alex zum ersten Mal Lara kŸsst, wacht Christiane plštzlich aus dem Koma auf.


BBC Earth (2013)

Die fantastische Reise der Všgel


Billy Wilder (1954)

Stanley Donen (1957)

Blake Edwards (1961)

Sabrina (1954, Musik von Friedrich HollŠnder)

Linus und David Larrabee sind Sšhne einer wohlhabenden Familie auf Long Island. Linus, der Šltere, geht ganz in seiner Arbeit auf. Er ist damit ausgelastet, das Familienunternehmen zu fŸhren, und hat keine Zeit fŸr eine Frau oder eine eigene Familie. David ist ein Lebemann, der zwar offiziell im Familienunternehmen angestellt ist, sich aber nicht viel aus der Arbeit macht. Er war bereits dreimal verheiratet und lŠsst keine gesellschaftliche Veranstaltung aus. Sabrina Fairchild, die junge, schŸchterne und unbeholfene Tochter des Chauffeurs der Familie, ist schon von klein auf in David verliebt, der sie aber kaum beachtet hat. Sie geht nach Paris, absolviert dort eine Ausbildung zur Kšchin und lernt durch die Freundschaft mit einem betagten franzšsischen Baron die Umgangsformen der besseren Gesellschaft kennen. Als elegante, kultivierte und schšne Frau kehrt sie nach zwei Jahren zurŸck, wo sie prompt David auffŠllt, der ihr umgehend den Hof macht. ...auch Linus hat inzwischen GefŸhle fŸr die junge Frau entwickelt. David kann seinen Bruder Linus Ÿberreden, ihr nachzureisen, so dass Sabrina und Linus schlie§lich doch gemeinsam nach Paris reisen.

Ein s٤er Fratz (1957, Musik von George Gershwin)

Ein s٤er Fratz, auch unter dem Verweistitel Das rosarote Mannequin bekannt, ist ein US-amerikanischer Kinofilm aus dem Jahr 1957. In den Hauptrollen sind Audrey Hepburn als Jo Stockton und Fred Astaire als charmanter Modefotograf Dick Avery zu sehen. Der Film basiert auf dem Musical Funny Face von George und Ira Gershwin aus dem Jahr 1927.

Die erfolgreiche Maggie Prescott, Herausgeberin des US-Mode-Magazins Quality, ist nicht oft mit den Ideen ihrer eigenen Mitarbeiter zufrieden. So kommt ihr zuerst der Gedanke, Pink zur neuen Modefarbe auszurufen (dazu der Song Think Pink) und dann die Idee ein neues Supermodel, die "Quality-Frau" aufzubauen, das vom berŸhmtesten Pariser Couturier exklusiv fŸr ihre Zeitschrift ausgestattet werden soll. Diese Frau soll alle Ideale der modernen Frau Amerikas besitzen und somit die Zeitung und Maggie Prescott verkšrpern.

Mit ihrem Fotografen Dick Avery, gestaltet nach dem Modell von Richard Avedon, der an dem Film auch mitwirkte, und dem Model Marion, gespielt von Supermodel Dovima, begibt sie sich nach Greenwich Village, in der Hoffnung, dort in einem intellektuellen, existentialistischen Buchladen vor ungewohnter Kulisse die idealen Bilder machen zu kšnnen. Bei diesem Fotoshooting entdeckt Fotograf Avery die unscheinbare BuchhŠndlerin Jo Stockton, die seiner Meinung nach die neue "Quality-Frau" werden soll. Allerdings muss er erst Miss Prescott und anschlie§end Jo Stockton davon Ÿberzeugen. Mit einem Trick gelingt es ihm: Obwohl Jo Stockton das Modewesen prinzipiell ablehnt, kann er sie Ÿberzeugen, da die Aufnahmen in Paris gemacht werden sollen, wo ihr gro§es Vorbild, der BegrŸnder des "Empathikalismus", Professor Emile Flostre, lebt und lehrt. Der Empathikalismus ist eine Parodie auf den Existenzialismus.

Jo Stockton, eine Ÿberzeugte Empathikalistin, sieht in dieser Paris-Reise die Chance, ihr Idol persšnlich kennenzulernen. In Paris verliebt sie sich allerdings in den Fotografen Dick und ist hin- und hergezogen zwischen ihrer Welt der "Empathie" und der Welt der Mode.

FrŸhstŸck bei Tiffany (Truman Capote,1961)

Das bezaubernde New Yorker Partygirl Holly Golightly (Audrey Hepburn) fŸhrt ein exzessives Leben voller Extreme: GefrŸhstŸckt wird in Abendrobe vor dem Schaufenster des Nobel-Juweliers Tiffany, geschlafen bis zum frŸhen Nachmittag. Die NŠchte sind lang, die Partys schrill, die Begleiter zahlreich und von den Herren nimmt man schon mal fŸnfzig Dollar "fŸr die Toilette".

FŸr den neuen Mieter in Hollys Mietshaus, den jungen ambitionierten Schriftsteller Paul Varjak (George Peppard) ist die schillernde Holly, die ihn hartnŠckig wegen seiner €hnlichkeit mit ihrem Bruder "Fred" nennt, zunŠchst ein faszinierendes Studienobjekt; als er sie jedoch nŠher kennenlernt, fŸhlt er sich mehr und mehr zu ihr hingezogen...

... Capotes Romanvorlage endet, im Gegensatz zum Film, ohne Happy End. Holly sucht die Katze im Regen vergeblich und fŠhrt schlie§lich fort. Als Paul spŠter entdeckt, dass die Katze ein richtiges Zuhause gefunden hat, hofft er dies auch fŸr Holly, deren weiteres Schicksal er nicht kennt.

Der komplette Soundtrackwurde von Henry Mancini komponiert. Der bekannteste Titel daraus ist der 1962 oscarprŠmierte Song Moon River, der in einer Szene von Audrey Hepburn selbst gesungen wurde.


Richard Lester (1965)


Im Mittelpunkt der Spielhandlung stehen die vier Mitglieder der Beatles. Der Soundtrack wurde als Album Help! veršffentlicht. Es war nach Yeah Yeah Yeah der zweite Spielfilm mit der Musikgruppe in der Hauptrolle unter der Regie von Richard Lester. Komponiert wurden alle Lieder des Films von John Lennon und Paul McCartney mit Ausnahme des Titels I Need You, den George Harrison beisteuerte.


Christopher Nolan (2010)


Dominick "Dom" Cobb (Leonardo DiCaprio) and business partner Arthur (Joseph Gordon-Levitt) are "extractors", people who perform corporate espionage using an experimental military technology to infiltrate the subconscious of their targets and extract information while experiencing shared dreaming. Their latest target is Japanese businessman Saito (Ken Watanabe). The extraction from Saito fails when sabotaged by a memory of Cobb's deceased wife Mal (Marion Cotillard). After Cobb's and Arthur's associate sells them out, Saito reveals that he was actually auditioning the team to perform the difficult act of "inception": planting an idea in a person's subconscious.


Through his confession, Cobb attains catharsis and chooses to remain in Limbo to search for Saito. Ariadne pushes Fischer off a balcony, resuscitating him at the mountain fortress, where he enters a safe room to discover and accept the planted idea: that his father wishes him to be his "own man", and that splitting up the conglomerate might not be a radical notion. All team members other than Cobb and Saito ride the synchronized kicks back to reality: Ariadne jumps off a balcony in Limbo, Eames detonates the explosives in the fortress, Arthur blasts an elevator containing the team's sleeping bodies up an elevator shaft, and the van in Yusuf's dream hits the water. Cobb eventually finds an aged Saito in Limbo and the two remember their arrangement, presumably shooting themselves and waking to outer-world reality back on the airplane, where the entire team and Robert Fischer have awakened.

Upon arriving in Los Angeles, Cobb successfully passes through U.S. customs to his waiting father-in-law, who reunites him with his children. Cobb attempts to determine if he is dreaming or awake by spinning a top, but ignores its outcome to instead happily greet his family.


Aram Avakian, Bert Stern (1960)

Jazz on a Summer's Day

a documentary film set at the 1958 Newport Jazz Festival in Rhode Island, co-filmed and co-directed by commercial and fashion photographer Bert Stern and director Aram Avakian, who also edited the movie. It was written by Albert D'Annibale and Arnold Perl. The Columbia Records jazz producer, George Avakian, was the musical director of the film.

The film mixes images of water and the city with the performers and audience at the festival. It also features scenes of the 1958 America's Cup yacht races. The film is largely without dialog or narration (except for periodic announcements by emcee Willis Conover).

The film features performances by Jimmy Giuffre, Thelonious Monk, Sonny Stitt, Anita O'Day, Dinah Washington, Gerry Mulligan, Chuck Berry, Louis Armstrong, and Jack Teagarden. Also appearing are Buck Clayton, Jo Jones, Armando Peraza, and Eli's Chosen Six, the Yale College student ensemble that included trombonist Roswell Rudd, shown driving around Newport in a convertible jalopy, playing Dixieland.[1]

Many performances ran so long that the last act, Mahalia Jackson, did not appear on stage until after midnight, performing The Lord's Prayer.

In 1999, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


David Garrigus (2003)

Kitty Hawk: The Wright Brothers' Journey of Invention (TV Movie)

KITTY HAWK definitively documents the gripping tale of hardship, perseverance and the true genius of Orville and Wilbur Wright. Follow the brothers through their epic and historic journey of discovery that culminated in the first successful manned flight. Neil Armstrong and John Glenn provide the voices of Orville and Wilbur. A national PBS broadcast.


(Filmliste #2)

Version 7 March 2017
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Jochen Gruber