Four aging animals, a dog, a cat, a donkey and a rooster escape from their former homes because they weren't as productive and useful for their owners as they used to be. To avoid death, they all move out on a musical journey to Bremen to find a better life.

1954 film by Paul May

During a wave of political violence in Italy, a policeman who's already survived an assassination is assigned to act as a bodyguard to a morally upright judge. He feels increasingly fearful as the links of the upper echelons of police and government to the violence become clear.

Klaus Kinski is one of the few German actors who has achieved international fame. He made headlines. And disappeared behind them. Kinski lived his parts 24/7. This film tells the story of a man who no longer could understand the difference or distinguish between fantasy and reality.

Connue des spectateurs français pour son rôle dans la série policière Commissaire Léa Sommer, la comédienne allemande Hannelore Elsner, décédée en avril 2019 à l’âge de 76 ans, fut une figure incontournable du cinéma d’outre-Rhin, très appréciée du public pour sa chaleur, son humour et sa liberté. Sabine Lidl lui consacre un émouvant portrait, passant en revue un demi-siècle de carrière. Elle convoque les témoignages de celles et ceux qui ont côtoyé la comédienne et travaillé avec elle : l’acteur germano-suisse Mario Adorf (auquel ARTE a également consacré un portrait) et les réalisateurs Doris Dörrie (Cherry Blossoms et merveilleux démons), Edgar Reitz ou encore Oskar Roehler, qui lui offrit en 2000 l’un de ses plus beaux rôles dans L’insaisissable, le bouleversant portrait d’une écrivaine déchue, très remarqué dans les festivals internationaux.

An American adventurer who has a gambling den in Istanbul, who is suspected to be involved in the kidnapping of a nuclear scientist, but ultimately becomes self on the search for the disappeared and gets a striving for world domination secret organization.

The bandit Pratt, looking for Tim, who is responsible for the death of his two sons, attacks a caravan killing all the passengers. Harry, the vagabond, after having robbed the dead, casually meets Tim and they become friends. Running away together from Pratt, they reach Harry's farm, but their hiding place is soon discovered.

Dem aus einfachen Verhältnissen stammenden kleinen Nemecsek stellt das Leben schon in jungen Jahren eine harte Prüfung: Seine Mutter muss das Haus verlassen, nachdem sein Vater ihre Affäre mit dem reichen Kaufmann Kovacs aufdeckt: gleichzeitig kämpft Nemecsek um einen Spielplatz in der Paulstraße. Doch das Grundstück gehört dem alten Jan. Erst durch die Hilfe von Edit, der Großmutter seines Kameraden, die in Jan ihre alte Jungendliebe wieder erkennt, kann das Grundstück als Spielplatz gewonnen werden. Schon bald droht der geliebte Spielplatz nicht nur durch eine rivalisierende Jugendbande verloren zu gehen, sondern auch durch Julia, Janos Exfrau. Sie hat große Bauvorhaben mit dem Grundstück vor. Der Anführer der "Jungen von der Paulstraße" ist Boka. Sein Vater ist Spieler und kann nicht gegen diese Sucht ankämpfen. Boka muss eines Tages mit ansehen, wie sein Vater bei einem Duell nur knapp dem Tod entgeht. Nemecsek kämpft bis ans bittere Ende. Wird er den Kampf gewinnen...?

In Part Three, entitled "The Last Fight," gangster Santer Jr. attempts to seize an oil well on Indian territory. To prevent this, Winnetou and Old Shatterhand must reconcile the warring Indian tribes so that they can take up the fight against the henchmen of the criminal.

1882年马克思的一些场景，1883年葬礼场景，致敬和引用了《德国人》纪录片中的很多片段。

A domestic house cat named Francis investigates the grisly feline murders taking place in his new neighborhood.

Jakob Windisch has written THE number one bestselling novel. Since he is very shy, no-one has seen him except Uhu Zigeuner who is the designated director of the film adaption. Zigeuner is on the hunt for the woman of his dreams, a woman who should also play the main role in the film. Meanwhile, ruthless producer Oskar Reiter wants to buy the film rights at all costs - and he is struggling for the love of the beautiful Valerie. These and a lot more egos meet every night in a restaurant called "Rossini" where everybody must go so that everybody else sees them. Written by Harald Mayr {[email protected]}

Als dem alteingesessenen Familienunternehmen der Konkurs droht, kehrt der ehemalige Leiter des Kaufhauskonzerns seinem Alterssitz den Rücken und versucht, den Betrieb wieder auf Vordermann zu bringen. Gemeinsam mit drei ebenfalls pensionierten Freunden, allesamt Fachleute auf ihren Gebieten, sagt er den Banken, Spekulanten und einer Supermarkt-Kette den Kampf an.

In 1970, it seems as if Roland Klick set out to emulate Sergio Leone's "The Good, The Bad, And The Ugly", mixing it with Michelangelo Antonioni's "Zabriskie Point" to create a modern Sauerkraut Western (without horses, but rather a truck and a car). The story stars three characters, Marquard Bohm as the "Kid" (The Good), Siegurd Fitzek as "Mr. Sunshine" (The Bad), and Mario Adorf (can be seen in Dario Argento's "The Bird With The Crystal Plumage" as the reclusive cat eating painter) as "Mr. Dump" (The Ugly) (who again plays a reclusive man who lives in a dump??). The story begins with the Kid, who has just pulled off a heist (with a bullet wound in the arm), and is carrying millions of dollars in a case. Wandering aimlessly through the sunbaked desert, (he finally passes out and is left for dead) until Mr. Dump drives along and finds him and the money. Once back at Mr. Dump's residence (a sort of abandoned junk yard), the Kid warns Mr. Dump, that Mr. Sunshine (who apparently is the ringleader of this heist) will be coming for his money. Thus begins the cat and mouse story, of who will get the case of money. Mr. Dump also has two neighbors, an older (and apparently sexually crazy) woman and her pretty (but feral) daughter (who is obviously sexually curious of the Kid).
The film is set in (what looks to be) a wasteland desert, which could have been a forerunner for films like "A Boy And His Dog" and "Road Warrior". Yet the film maintains a complete Sergio Leone feel to it. You get all the great close ups of the characters sweating in the sun, and the typical double crossing that took place in his westerns. The Kid in this movie also kind of resembles Charles Bronson's character in Leone's other masterpiece "Once Upon A Time In The West". But on the flipside, this film also kind of reminded me of Antonioni's "Zabriskie Point", in the surreal desert filming. Also the use of Kraut Rock band "Can", who's music score, will remind one of Pink Floyd's music score for Antonioni's film. The inspired use of Can, as the music score was a great choice, because though at times it does remind you of Pink Floyd, it also reminds me of Ennio Morricone's music score as well. The Kid's theme song seems to be "Whiskey Man" by Can, and this reminds me of the way you hear that unforgettable Clint Eastwood whistling theme, or the accompanying harmonica for Charles Bronson. Can's score embodies both stylizations perfectly. The film is pretty obscure, and there was very little information, that I could find on it. But it's worth searching out if you have an interest in different cult type movies from the late sixties, or an interest in Can. But the pacing is a little uneasy and the finale was a tad unclimatic (yet somehow downbeat). Though it's a German production, the English dubbing will remind you of the Spaghetti Westerns as well. Cool, but very weird.

An American journalist in Prague searches for his girlfriend who has suddenly disappeared.

1992 Film directed by Lamberto Bava

The film features several horse trainers and other track workers talking about their roles at the track, always eventually interrupted by an older man who claims to be the true authority, and demands that they be thrown out. One recurring young man, the first to appear, claims that he protects the horses from enthusiastic racing fans. He does not appear to be employed by the track, but seems to provide his services voluntarily. His protection from "fanatics" gives the film its title. The film is shot in a documentary style, but the sheer implausibility of the dialogue leaves the exact nature of the film ambiguous.