What is the future of cinema? In 1982, in Cannes, Wim Wenders invited many movie makers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.

«Daniel Schmid - Le chat qui pense» documents the eventful life and cinematic legacy of an exceptional Swiss film and opera director. It spans the filmmaker's formative childhood in a Belle Epoque hotel in the Swiss Alps; follows his escape to a turbulent 1960s Berlin, his love of cinema, and his encounters with Rainer Werner Fassbinder. The film travels with Schmid through time and around his world: a world situated between reality and fiction.

In Little Godard. To the Production Board for Young German Film, Hamburg’s experimental filmmaker Hellmuth Costard used a Super 8 film system he developed himself that allowed for numerous Super 8 cameras to be synchronised to each other during filming. “Power to Super 8!” was the cry before video cameras became ubiquitous, a low-cost solution for amateurs and even independent professional filmmakers. The content of the film is bookended by an application for a subsidy in which Costard formulates his objection to using the screenplay to evaluate a potential film project…

Viola Shafik's documentary explores the story of El Hedi ben Salem, a lover and collaborator of provocative German director Rainer Werner Fassbinder.

Though he never actually worked in Hollywood, Rainer Werner Fassbinder, who died in 1982 at the age of 36, was influenced greatly by Amercian studio films of the 1950s and the convention of melodrama (the link most often mentioned is Douglas Sirk). With actor-turned-filmmaker Ulli Lommel as host and guide (he appeared in Fassbinder's very first feature, Love Is Colder Than Death, in 1969), documentary filmmaker Robert Fischer conducts a tour of Hollywood today, pausing to chat with cinematographer Michael Ballhaus and actress Hanna Schygulla # both charter members of Fassbinder's tight-knit stock company of technicians and players # as well as Wim Wenders, who found the toehold in the studio system that Fassbinder never had. The proceedings are liberally sprinkled with clips from Fassbinder's films, as well as glimpses of a theater company in Los Angeles that specializes in performing the director's plays. As Fischer makes clear, Fassbinder's influence on Hollywood is not only still being felt today, but is gathering a dramatic force that will serve to introduce his oeuvre to a new generation of moviegoers.

Bourbon Street Blues is made after Tennessee Williams' play The Lady Larkspur Lotion.
"In a rundown French Quarter boarding house, Mrs Hardwick-Moore, a faded beauty in an alcoholic tailspin, chooses to remain blanketed in her delusional dream world, despite its conflict with the reality presented to her by a brusque landlady. This brief, yet intensely evocative, character study is widely considered to be a preparatory sketch for Blanche DuBois in A Streetcar Named Desire.”

Die Macher des Neuen Deutschen Films wie Werner Herzog, Rainer Werner Fassbinder und Wim Wenders stehen für das junge, rebellische Kino der Post-Adenauer-Zeit. Die Dokumentation GEGENSCHUSS – AUFBRUCH DER FILMEMACHER beleuchtet nun die Geschichte des Gravitationszentrums der Bewegung: des Filmverlag der Autoren. Mit Zeitzeugnissen, Interviews und Filmausschnitten erzählen Regisseur Dominik Wessely und Produzent Rainer Kölmel von einem faszinierenden Stück deutscher Filmgeschichte.
Die Mitglieder des legendären Filmverlag der Autoren hievten das deutsche Kino nach Jahrzehnten wieder auf internationales Niveau. Heute orientieren sich junge Filmemacher an dieser „Rebellion der Filmemacher“. GEGENSCHUSS – AUFBRUCH DER FILMEMACHER wird am 11. Februar 2008 im Berliner Zoo-Palast Premiere feiern. Ab 9. Februar bringt die Berlinale eine Sonderreihe mit 8 Filmen im Berliner Filmkunst 66. Ab 14. Februar ist GEGENSCHUSS in Hamburg, Berlin, München und weiteren Städten im Kino zu sehen.
GEGENSCHUSS ist eine Produktion der Kinowelt Filmproduktion in Koproduktion mit Filmverlag der Autoren, BR, WDR, Arte. Gefördert durch FilmFernsehFonds Bayern und FFA

Beautiful, detached, laconic, consumptive Lily Brest is a streetwalker with few clients. She loves her idle boyfriend Raoul who gambles away what little she earns. The town's power broker, called the rich Jew, discovers she is a good listener, so she's soon busy. Raoul imagines grotesque sex scenes between Lily and the Jew; he leaves her for a man. Her parents, a bitter Fascist who is a cabaret singer in drag and her wheelchair-bound mother, offer no refuge. Even though all have a philosophical bent, the other whores reject Lily because she tolerates everyone, including men. She tires of her lonely life and looks for a way out. Even that act serves the local corrupt powers.

Life and work. Documentary from german TV.

Signs of Vigorous Life: New German Cinema features interview footage with Werner Herzog, Wim Wenders, Volker Schlondorff, and Rainer Werner Fassbinder. The documentary takes you through the origins of German film during its post war failures to the birth of the New German Cinema and its founding members.

A documentary on the shooting of Kamikaze 1989 and Querelle, it contains an interview with Fassbinder prior to his death.

Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’
The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.

西奥、玛丽特和弗朗茨通过挨家挨户推销杂志赚不到钱，于是他们尝试了一次小小的抢劫。

In a totalitarian society of the future, in which the government controls all facets of the media, a homicide detective investigates a string of bombings, and finds out more than he bargained for.

在德国没有比赖纳·维尔纳·法斯宾德更具争议、更高产且更痴迷于电影制作的导演了。他于1982年去世，年仅37岁，法斯宾德生前彻底改革了影院，留给后人共44部自导的电影和电视剧。前无古人，后无来者，再也没人能像赖纳·维尔纳·法斯宾德把德国社会描绘的如此真实刺骨，且两极分化程度之高。

An insightful examination on the life and work of New German Cinema master Rainer Werner Fassbinder, "I Don't Just Want You to Love Me" presents friends, actors and collaborators of his many films talking about his work, creativity, behavior, personal life and the magic behind his several films made non-stop in a period of 15 years.

三个序列在通过本斯特劳布短膜连接在一起;第一序列是从汽车妓女做着自己对德国的夜间街道贸易的长期跟踪拍摄;第二个是分阶段的发挥，由斯特劳布削减到10分钟，并在一个单一的取拍摄;最终序列包括詹姆斯和莉莉丝的婚姻，和莉莉丝的后续的执行她的皮条客，由法斯宾德扮演。