2004 television film directed by Urs Egger

1996 film directed by Urs Egger

Der verzweifelte Arbeiter Werner Kreye fährt mit seinem Auto in voller Absicht auf den Chefbanker Draeger zu, der seinem Sohn Martin zu einer internationalen Karriere verholfen hat. Rückblickend wird erzählt, wie dieser Mann mit dem Herzen am rechten Fleck von seinem Bankberater Harald Mertens zu immer riskanteren Geldgeschäften überredet wird. Sein Sohn Martin mausert sich währenddessen zum Investmentbanker mit fatalen Folgen

Nuclear security expert Katja Wernecke (Ulrike Folkerts) helps cover up a fire in the German nuclear reactor she works in, before the government takes a decision on extending the usage license for it. But the press uncovers it. PR man Steffen Stratmann (Matthias Koerbelin) is brought in to improve the companies image - but before he can implement his plan a nuclear meltdown occurs. 2m people have to be evacuated. Wernecke re-enters the hot zone to investigate the cause...

Tyrol, 1932: The world economic crisis is at its peak, radical political movements emerge. In a small Austrian community, the engine driver Michael Unterguggenberger accepts the mayor's office against better knowledge. But how is he supposed to save Wörgl? The power of despair and the support of his wife Rosa form the breeding ground for a daring experiment: Unterguggenberger wants to print his own money without further ado - so-called work confirmation notes. For this he not only has to convince the community of his city, but above all to rebel against the mighty banking.

A story about of one of the darkest periods in German history, an era in which the belief in occult forces was widespread. In Bamberg, witch hunts were fostered by a greedy and delusional Bishop Prince and reached their peak around 1630. This Bamberg ruler used the witch trials to purge his political enemies and enrich himself with their goods. Almost 1000 innocent men, women and children became his victims. BURNING SOULS deals with the era seen through the eyes of Johanna Wolff, a pharmacist's daughter, and the young physician Cornelius Weinmann. To save the innocent, he and a few courageous men revolt against the Bishop Prince.

In 1939, after barely escaping the Nazis, a Gypsy family returns to Switzerland only to be torn apart by racial persecution in the benign guise of children's welfare. This fictionalized story of Jana, an eight-year-old Gypsy girl snatched from her parents and consigned to a life of orphanages and bleak foster homes, is based on a little-known chapter of Swiss history: From 1926 to 1972, the state-supported Pro Juventute, a children's aid foundation, forcibly removed some 700 Gypsy children from their families, in order to sever the ties with their culture and assimilate them to a "better way of life." The underlying aim was to preempt a new generation's caravans from following their nomadic traditions along Switzerland's country lanes.

贝尔塔的出生在布拉格的一个波希米亚贵族之家，一出生就是女伯爵。 贝尔塔的母亲很能挥霍，家产被逐渐耗尽，1873，已经30岁的贝尔塔在维也纳富有的苏特纳家族担任家庭教师，为苏特纳家的四个女孩教授音乐和外语，在这段期间，贝尔塔与苏特纳家最小的儿子、工程师、小说家阿瑟·贡达卡尔·冯·苏特纳男爵相爱并且私自定婚，但是遭到苏特纳家族的强烈反对。1876年她通过阿尔弗雷德·诺贝尔发的告示，成为他在巴黎住宅的私人秘书兼管家。而此时诺贝尔被瑞典国王召回国内，趁这个机会，贝尔塔返回维也纳跟阿瑟秘密举行了婚礼，而她在巴黎为诺贝尔工作的时间只有一个多星期。由于无法被家里接纳，夫妇俩去了高加索，过着不稳定的生活，贝尔塔一开始在那里以教授音乐和外语为业，后来从事写作。 虽然贝尔塔与诺贝尔生前只有短暂交往，但普遍相信诺贝尔在他的遗嘱中指明加入和平奖项到诺贝尔奖是主要受到她的影响。

This is a film I picked up in the library. I hadn't heard about it at all, so I was wondering whether it was intended for TV or for the big screen. So, anyway, what got me watching this flick is mainly the cast: Mario Adorf, Günther Lamprecht and Bruno Ganz are, in my view, some of the finest actors Germany has (and Germany doesn't have a lot of them). The plot is something which rang a bell to me, I am quite sure that the main idea of this film borders on plagiarism: a former KZ-inmate is convinced of having discovered one of his torturers in a church posing as a man of God (Lamprecht). It reminded me of Dürrenmatt. Although the plot is definitely not something unheard of or never done before, I thought that the acting was good. The flashbacks to the youth of the three protagonists was somewhat too corny, but the confrontation scene in the church was well done and not a little melodramatic. This scene was worth watching, because Adorf, Lamprecht and Ganz display this kind of down to earth acting that far from the overly dramatic way of acting in Hollywood when it comes to the Holocaust. So, although this isn't the best movie I've ever seen on the Shoah, it's definitely not the worst, and that's why I give it 6 points.