Deutsches TV-Drama

deutscher Spielfilm

1988 film by Helma Sanders-Brahms

Her only foray into science fiction—about the havoc wrought on society by a television that satisfies every human craving—The Last Days of Gomorrah was a favorite of Sanders-Brahms, who brought feminist politics to the New German Cinema movement of the 1970s. It is a forceful piece of capitalist realism, critiquing working-class alienation and commodity culture.

Emily, a child, stays with her bourgeois grandparents during frequent periods when her mother makes films. Isabelle wraps a picture, flies to her childhood home to pick up Emily, and plans to leave for her place in France. Old wounds between Isabelle and her parents open around Isabelle's life style. It's also apparent that Isabelle's mother, Paula, is unhappy - with her husband and with her youthful hopes dashed when she became pregnant with Isabelle. Unbeknownst to Isabelle, the co-star of the film she's just made has followed her, checked into a nearby hotel, and wants to begin an affair, even though he's married. Can Isabelle sort it out? What's best for Emily?

Tutor Jeronimo and heiress Josephe fall in love but are quickly torn from one another by execution and jail. However, when fate intervenes in the form of a massive earthquake, the two lovers have no idea what is in store for them.

In order to be reunited with Mahmood (Ören), a man she was promised to as a young girl, 20-year-old Shirin (Erten) leaves the life she had in a small village in Turkey in search of him.

1988 film

When East Germany ceases to be separate from its western half, one would think that things would be better for the couple in this movie who have been plagued by sexual and political harassment of the most virulent kind, but , they are completely unprepared to cope with the swift changes that are transforming their familiar yet desperately unhappy world. In the story, Heinz is a laborer in the cooperative apple orchards of an East German village and has married his sweetheart Lena. She works to take care of the sickly wife of the co-op's manager and also must cope with the sexual attentions of the perfidious man. One day, after discovering this state of affairs, Heinz blows up and assaults his wife's harasser, which only serves to land him in jail. While in prison, the state secret police (the Stasi) get him to help them entrap the co-op manager, whom they believe is going to try to defect.

A biopic by Helma Sanders-Brahm on the life of the poet and dramatist Heinrich von Kleist. The film is based upon his letters, documents and literary works. This film won the Deutscher Filmpreis in 1977 making Sanders-Brahm the first female director to win it.

Doctors say that Veronika, a woman in her 20s, is schizophrenic. She is compliant, which makes her an easy target for men. She's religious, believing she is God's favorite child; she searches for Jesus. She has sent a letter to a filmmaker suggesting her life as the subject for a movie. We see her raped than take up with a series of men she believes are Jesus, each willing or insistent on sex. A young man with his own crisis of faith invites her to join a cult. We see her involuntarily committed to an asylum from time to time where medication and constraints await. Her wealthy parents are helpless. Will a medical professional ever talk to her? If one did, would it help?

本片和宫崎骏的《天空之城》没有任何关系。这是德国女导演 Helma Sanders-Brahms作品，女主角Krystyna Janda获1986年蒙特利尔电影节最佳女演员奖。 A French architect and a Polish photographer enjoy a love affair and meet regularly in Berlin for passionate weekends. Unable to decide whether they should start a steady relationship, they permanently break up with each other. The title is allegorical, in that West Berlin is named Laputa, the flying island that Jonathan Swift once wrote about.

The life of Jewish Expressionist poet and performance artist, Else Lasker-Schüler (1869-1945), told chronologically in vignettes given context by archival footage of turn-of-the-century Germany, World War I, and the ascent of the Third Reich. Her poetry often comprises the soundtrack. We see her in relation to men: her first husband, whom she leaves after her son is born; artists like Chagall and Franz Marc; an older muse and then a second husband; and, Gottfried Benn (1886 - 1956), physician and poet. Benn's life is also chronicled: homosexual encounters, his attraction to Else and the Berlin scene, and his politics. Her poems addressed to him define this cultural moment.

Berlin, 1974. Grischa and Heinrich are actors, accidentally locked in the rehearsal hall one night. He tries to seduce her; she's puts him off. Later she dumps her husband and sleeps with Heinrich, who ups the ante by suggesting they have a child. She takes him seriously by initiating a journalistic project interviewing working mothers, asking how they balance work and family, delving into their sexual histories. Heinrich sulks when she spends evenings on the project, he's childish. Should she leave him? The story plays out against the backdrop of left-wing political agitation.

1980 film by Helma Sanders-Brahms

A look at the lives of 19th-century composers Clara and Robert Schumann.