1911年，德国作曲家阿森巴赫（德克•博加德）怀带丧女之痛来到威尼斯，想藉水城美景舒缓心情，可是一切景致所勾起的不过是更加伤心的回忆，直到在旅馆里邂逅美少年塔奇奥（伯恩•安德森），对方宛如希腊雕像般的容颜才令他浑身颤栗，浑然忘我地沉醉在激动的热情中。
其后，威尼斯城被瘟疫所笼罩，但官方刻意封锁了消息。阿森巴赫逐渐发现这一惊人的危机时，没像其他人一样慌不择路想尽快逃离，相反为了多看塔奇奥一眼，甘愿染上瘟疫命丧威尼斯。

Hans Castorp, fresh from university and about to become a civil engineer, comes to the Sanatorium Berghof in the Swiss Alps to visit his cousin Joachim, an army officer, who is recovering there from tuberculosis. Intending to remain at the Berghof for three weeks, Hans is gradually contaminated by the morbid atmosphere pervading the place. Wishing very much to be considered a patient like the others, he achieves his ends and stays in the sanatorium for ...seven years. During this time, he has enough time to take part in the furious philosophical debates pitting against each other Settembrini, a secular humanist, and Naphta, a totalitarian Jesuit. And to fall in love with the beautiful but enigmatic Clawdia Chauchat. When he is finally discharged in 1914 - along with all the other patients - it is only to plunge into the horrors of World War I.

父亲去世后，小约翰（阿明·缪勒-斯塔尔 Armin Mueller-Stahl 饰）接替了父亲的职位掌管了公司。小约翰有三个孩子托马斯、克里斯蒂（奧古斯特·迪赫 August Diehl 饰）和安东尼（洁西卡·史瓦兹 Jessica Schwarz 饰），聪明勤恳的克里斯蒂老老实实的跟着约翰学本领，深受约翰的信赖，而托马斯则和他恰恰相反，喜欢看戏的他总是神龙见首不见尾。
大女儿安东尼眼看就要到了家人的年纪了，约翰相中了一个名叫格林利希（尤斯图斯·冯·多赫纳尼 Justus von Dohnanyi 饰）的青年商人，觉得他和自己的女儿简直是门当户对，但是安东尼却非常讨厌这个油腔滑调的男人。之后，安东尼邂逅了另一个年轻人，体会到了爱情的悸动。

Birri devoted his energies to opposing social class inequalities in Argentina, yet with the Frondizi government ousted by the military, Birri was forced to leave the country in late 1963. While in political exile he traveled throughout Latin America teaching young filmmakers his craft, eventually returning to Rome due to lack of resources. He spent ten years making the little-seen experimental art film, Org. When it was finally finished in 1978 it so outraged its producer that he ordered it destroyed (though reportedly a print still exists).

Deborah Warner's beautiful and evocative production of Britten's final operatic masterpiece has been acclaimed as an ‘exquisitely achieved marriage of music, drama and design’ (The Independent). In Britten's luminous and compelling interpretation of Thomas Mann's classic novella, the aging writer Gustav von Aschenbach's infatuation with the Polish boy Tadzio and his subsequent decline are portrayed in a ‘remarkable and harrowingly believable’ performance (The Guardian) by John Graham-Hall, who had
already won golden opinions for singing the role of Aschenbach at La Scala. The superb ENO chorus and orchestra are conducted by Edward Gardner, a long-standing champion of Britten's music. Filmed in High Definition and recorded in true Surround Sound.

Noted Austrian actor Klaus-Maria Brandauer stepped into the director's chair for this drama about the rise of fascism in Europe, based on a story by Thomas Mann. In the 1920s, Bernhard Fuhrmann (Julian Sands), a German author and outspoken leftist, takes his family to Torre di Venere, a resort community in Italy, where they are not welcomed warmly by all of the residents, especially after an incident in which Fuhrmann's daughter is caught swimming nude by the seashore. While several of the guests at the hotel where the Fuhrmanns are staying voice their opposition to the family's presence, the concierge defends their right to stay there -- until she is killed and replaced by a member of the local fascist brigade. As the village is enveloped in chaos, a magician named Cipola (Brandauer) appears, who has a profound effect on the lives of those around him. Mario und der Zauberer was shown in competition at the 1994 Moscow Film Festival.

"Будденброки" - первый, автобиографический роман знаменитого автора "Волшебный горы" и "Иосифа и его братьев". Это жизнеописание нескольких поколений семьи немецких бюргеров, которые ведут свой вековой бизнес в небольшом портовом городке в Германии. Успешные коммерсанты, обладающие безупречной репутацией и твердыми принципами, они стяжают собственную славу и богатство, приобретая к тому же святую веру в гарантированное процветание потомков.

Типичные обыватели доброй, старой Европы. Мы сегодняшние так далеки от них, да и когда на самом деле мы были близки этому укладу жизни, взглядам, привычкам? Понятен ли нам, давно читающим другие книжки, сдержанный и одновременно скрупулезный стиль и литературный темперамент Томаса Манна?

Режиссер Миндаугас КАРБАУСКИС находит, что эти мужчины и женщины с труднопроизносимыми фамилиями, оказались удивительно похожи на его современников - ровесников и самого режиссера, и актеров, играющих в спектакле. На поколение людей умных, одаренных, деловых, точных в целях, в том, чего хотят от жизни. И людей, одновременно очень ценящих семью, сосредоточенных на супружестве, на детях, доме.

Artistic Team
Sebastian Hartmann Director and set designer
Adriana Braga Peretzki Costume design
Samuel Wiese Music
Tilo Baumgärtel Video animation
Lothar Baumgarte Lighting design
Claus Caesar Dramaturgy
Jan Speckenbach Live stream image control
Marlene Blumert, Max Hohendahl, Dorian Sorg Live stream cameras
Lennart Löttker Scenic video
Peter Stoltz Head of stream
Marcel Braun, Björn Mauder Transmission audio
Marcel Braun, Eric Markert Sound
With
Elias Arens, Manuel Harder, Markwart Müller-Elmau, Linda Pöppel, Birgit Unterweger, Cordelia Wege, Niklas Wetzel
Samuel Wiese Live music
In his adaptation of Thomas Mann’s The Magic Mountain, Sebastian Hartmann poses the key question "What is time?" "A secret," Mann writes "– insubstantial and omnipotent. A prerequisite of the external world, a motion intermingled and fused bodies existing and moving in space. But would there be no time if there were no motion? No motion if there were no time? Is time a function of space? Or vice versa? Or are the two identical? Time is active; by nature, it is much like a verb. It both 'ripens' and 'brings forth'. And what does it bring forth? Change! Now is not then, here is not there, for in both cases, motion lies in between. But since we measure time by a circular motion closed in on itself, we could just as easily say that its motion and change are rest and stagnation – for the then is constantly repeated in the now, the there in the here. Moreover, since, despite our best desperate attempts we cannot imagine an end to time or a finite border around space, we have decided to 'think' of them as eternal and infinite – in the apparent belief that even if we are not very successful, this marks some improvement. But is not the very positing of eternity and infinity imply the logical, mathematical negation of things limited and finite, their relative reduction to zero? Is a sequence of events possible in eternity, a juxtaposition of objects in infinity?"