孤儿海蒂（阿努克·斯特芬 饰）被姨母迪特（安娜·希恩斯 饰）送上了阿尔卑斯山，与远离小镇独居的祖父（布鲁诺·甘茨 饰）一同生活。活泼的海蒂在这里如鱼得水，先是感动了固执的祖父，又收获了羊倌彼得（奎林·阿格里皮 饰）的友情，还与山下彼得的家人打成一片。一天，海蒂同彼得在山上放羊，姨母突然出现，连哄带骗将海蒂卖到法兰克福的泽塞曼家。从此，目不识“A”的海蒂成为了小姐克拉拉（伊莎贝尔·奥特曼 饰）的伴读。克拉拉幼年丧母，大病一场后再也站不起来了，只能被困在豪宅中与轮椅相伴。父亲（马克西姆·梅米特 饰）常年在外很少回家，寂寞的克拉拉把海蒂当成了救命稻草。海蒂能适应泽塞曼家的新生活吗？远在天边的祖父和彼得还能再见吗？克拉拉的腿还有好起来的希望吗？

1977年，一个商人被绑架后又被谋杀，杀他的是左翼的称为RAF的恐怖分子Armee Fraktion（红色帮派），他们绑架商人是为了试图以交换他们被抓的领导人。当诱拐的努力和一次劫持飞机相继努力失败后，RAF的3位非常杰出的领导人，安德烈亚斯巴德，古德兰·恩斯林和吉恩·卡尔泪谱，全部在监狱自杀。这3人实际上是被政府授命谋杀的。

年轻美丽的西德女孩卡塔琳娜•布鲁姆（Angela Winkler 饰）有段失败的婚姻，她偶然在亲戚家的晚会上邂逅英军男子路德维希•戈顿（Jürgen Prochnow 饰），两人一见钟情，并共度浪漫的一夜。然第二天一早，军警破门而入，四处搜查，戈顿已不见踪影。原来戈顿系警方通缉的抢劫犯，卡塔琳娜被作为同犯逮捕。
警方的搜捕轰动一时，《图片报》记者托特盖斯（Dieter Laser 饰）四处打探消息，搜集卡塔琳娜的隐私。他将搜集到的素材提供给警长拜茨迈纳（Mario Adorf 饰），警长再将这些作为证据，对卡塔琳娜进行严刑拷问。原本生活平静的卡塔琳娜一瞬间跌至谷底……
本片改编德国著名作家，诺贝尔文学奖获得者海因里希•伯尔的同名小说。

老艺人曼弗雷德·派克特为了改变马戏团的处境建议经理加一个大象表演的节目，可他自己在表演空中飞人时，失足摔断了脖子，轮到他的女尔莱妮接棒用父亲的思想进一步改编马戏团的节目。对她来说这无疑是一种考验，她开始制订改革马戏团的计划，但在经济现实面前低头屈服，把马戏改造成电视上的常备节目。此时，莱妮的好友去世，她继承了好友的财产，决定买下旧的冬季马戏团表演场所，与男友一起重建马戏团，可是这一切都成为徒劳。

In the first century of the third millennium, a galactic civil war is raging between governments, industrial giants and space pirates. Run for your lives! The Big Mess features space captain Douglas, the pirate couple sterr, a space admiral and countless other characters trying to eke out a living in the cosmos. But whenever they get anywhere , they find they've been beaten to it by monopolist enterprises.
In Willi Tobler and the Decline of the 6th Fleet, Willi endeavours to survive in a world where annihilistic galactic battles rage, by taking a job at the centre of power. But it's wrong side that he takes in this civil war.

In the first century of the third millennium, a galactic civil war is raging between governments, industrial giants and space pirates. Run for your lives! The Big Mess features space captain Douglas, the pirate couple sterr, a space admiral and countless other characters trying to eke out a living in the cosmos. But whenever they get anywhere , they find they've been beaten to it by monopolist enterprises.
In Willi Tobler and the Decline of the 6th Fleet, Willi endeavours to survive in a world where annihilistic galactic battles rage, by taking a job at the centre of power. But it's wrong side that he takes in this civil war.

什么是革命的？马克思和恩格斯的著作中都使用革命的比喻为“历史的火车头”。 ，那么，革命的进步的旗手，一个突击手，一个领跑者？

A mini-sequel to German director Alexander Kluge's 1968 Golden Lion winner Artists Under the Big Top: Perplexed, The Indomitable Leni Peickert continues the slice-of-life tale of down-on-her-luck Peickert (Hannelore Hoger), who in that earlier film (many will remember) made the mistake of investing in a "socially relevant" circus that failed to draw crowds - and quickly found herself in financial hot water. In this particular outing, she begins by working on television, then gets fired for smuggling an explicit, uncensored film - and promptly returns to the circus, while remaining footloose and unsettled. Intriguingly, this film does not represent a sequel to Big Top per se, but actually works in material that Kluge originally intended for that earlier outing.

故事发生在1563年的法国，在新教徒和天主教徒之间，爆发了一场旷日持久的激烈战争。亨利（朱利安·波义塞利尔 Julien Boisselier 饰）身为新教首领，需要抵抗的是强大的皇太后凯瑟琳（桑德拉·惠勒 Sandra Hüller 饰）。为了平息战争，王室决定牺牲公主玛格丽特（阿赫麦勒·德意志 Armelle Deutsch 饰），将她许配给亨利。
然而，这一切都是凯瑟琳一手策划的阴谋。就在亨利和玛格丽特成婚当夜，凯瑟琳拉响了警钟，指挥军队对国内的新教徒们进行了一场惨无人道的血腥屠杀。幸运的是，亨利在屠杀中逃过一劫，并且凭借着努力和运气，成为了最终的胜利者，开创了波旁王朝，留名青史。

The story of Gabi Teichert (played by Hannelore Hoger) who had already begun to dig around in search of the roots of German history in Germany in Autumn. In daily school life, at the party convention of the Social Democrats (SPD), on the Day of Penance and during Advent: She remains stalwart on her quest for a republic, for which the trouble is worth it.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema.
Alexander Kluge: The Power of Feeling
When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster.
The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public.
The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim.
I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

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.

Alexander Kluge’s News from Ideological Antiquity begins with Russian filmmaker Sergei Eisenstein’s ambitious but unrealized plan to combine Karl Marx’s Capital and James Joyce’s Ulysses. For over nine hours, the film expands in concentric circles as Kluge, his guests, interlocutors and monologists make associative links on a range of topics that starts from a filmic discussion of Eisenstein’s notes.

由埃德加·莱茨导演的半自传体式电影长片《故乡三部曲》的第二部。讲述凤凰男海尔曼在经历了少年时代那段情殇之后，从穷乡僻壤的洪斯吕克山村沙巴赫来到慕尼黑求学。恰巧经历七八十年代的时代变革，与一帮青年们演绎了一出热火朝天的青春交响曲，展现了德国新一代青年的生活及精神世界。

With the offer to work for a major manufacturer of security software, hacker Alissa finds herself in a hermetically sealed high-tech world.