Bernhard Sinkel
1940 (84 года)
Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias
Robert Fischer
Edgar Reitz, Ula Stöckl
For over half a century, the filmmaker Edgar Reitz, one of the signatories of the Oberhausen Manifesto and a pioneer of epic film narration, has explored, as a practitioner and theoretician, the rules and limits of cinema, which he always seeks to break and extend in new ways. One example of his tireless search and research are the Geschichten vom Kübelkind, which he co-directed with Ula Stöckl in 1969/70, 22 absurdly funny, subversive and anarchistic short films of different lengths, which consciously oppose all conventions, with incredible success. The films remain unrivalled in their Dadaistic inventiveness.
Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias
Deutschland im Herbst
Peter Schubert, Volker Schlöndorff
Hannelore Hoger, Angela Winkler
Germany in Autumn does not have a plot per se; it mixes documentary footage, along with standard movie scenes, to give the audience the mood of Germany during the late 1970s. The movie covers the two month time period during 1977 when a businessman was kidnapped, and later murdered, by the left-wing terrorists known as the RAF-Rote Armee Fraktion (Red Army Fraction). The businessman had been kidnapped in an effort to secure the release of the orginal leaders of the RAF, also known as the Baader-Meinhof gang. When the kidnapping effort and a plane hijacking effort failed, the three most prominent leaders of the RAF, Andreas Baader, Gudrun Ensslin, and Jan-Carl Raspe, all committed suicide in prison. It has become an article of faith within the left-wing community that these three were actually murdered by the state.
Germany in Autumn
Der Mädchenkrieg
Alf Brustellin, Bernhard Sinkel
Adelheid Arndt, Kaki Hunter
The three daughters of the Dessau merchant Sellmann move with their father to Prague in 1936, where he accepted a position as director of the Böhmische Landesbank. For the three different women begins a new life, which accompanies the film over a period of ten years.
Der Mädchenkrieg
Lina Braake
Bernhard Sinkel
Lina Carstens, Fritz Rasp
After the death of the owner of the house Lina Braake is living in, the house is accrued to the bank. During the complete refurbishment of the building, the 81-year old woman is thrown out of her flat and is put in an old people′s home. There she meets 84-year old Gustaf. Together, the lively seniors come up with a plan to trick the bank with a smart credit fraud and take their revenge. They need the money to buy a country house on Sardinia and leave Germany for good. Although their coup proves to be successful, the bank soon finds Lina. But due to her old age she cannot be tried anymore.
Lina Braake
Der Kinoerzähler
Bernhard Sinkel
Armin Mueller-Stahl, Martin Benrath
Germany in the Thirties. A movie teller realizes that his profession is not longer needed. Silent movies are not produced any longer. Telling stories is the only thing the man was ever good in, so he does not know what to do now. As political circumstances are changing dramatically these days in Germany, he gets new hope that things will again be going better for him...
The Film Narrator
Kaltgestellt
Bernhard Sinkel
Helmut Griem, Martin Benrath
In the late 1970s the German secret service fights against RAF terrorism and searches for constitutional enemies in the public service. Teacher Brasch implicates secret service agent Körner and the government in the suicide of a young teen. As a result Brasch and the exposed Körner are fired.
Put on Ice
Sonntag Malerei
Ula Stöckl
Alf Brustellin, Bernhard Sinkel
Eva is a single freelance painter. She is in love with a married man. She pretends that she never waits for him, and if he suddenly turns up she acts as if she is surprised. In reality the unresolved relationship is making her so depressed that her work is the only thing that is saving her. In an attempt to break her addiction she enters into a relationship with another man. But the balance she is looking for eludes her, as now she has to choose between the two. But Eva can't: she wants to have an entire life, not part of one. In the form of a sort of filmic diary, Eva now attempts to sort out the puzzle, which is her life.
Sunday Painting