A film about black women in South Africa filmed secretly with the help of two black women journalists. Through interviews with five typical women, and comments from four women activists, including Winnie Mandela, the film clearly shows the devastating impact of apartheid on black women and their families. Narration by Peggy Phango.
Tag: WEST GERMANY
On a dirty grey street in Berlin, a crowd gathers round an eccentric old woman who is performing a strip-tease. Dragged off to a psychiatric hospital, she demands cocaine instead of thorazine, tries to seduce everyone in sight, and insists that she is the legendary dancer Anita Berber, darling of the decadent ’20s. Suddenly, in true Wizard of Oz style, the film departs from monochrome reality into the colour-drenched world of the woman’s fantasies, a wildly exaggerated evocation of Weimar Berlin filmed in full-blown expressionist style.
Jess Franco regular Adrian Hoven directs, and future ‘Blade Runner’ star Rutger Hauer plays a disaffected sailor turned hard drinking womaniser. Quite a few lovelies appear alongside Hauer (most of whom he beds), including the foxy Dagmar Lassander (‘Forbidden Photos Of A Lady Above Suspicion’) and Shirley Corrigan (‘The Devil’s Nightmare’). Rutger returns home from six months at sea to find his wife, whom he was deeply in love, has unexpectedly left him and is now a junkie whore. Devastated, he tries to ease his pain with booze and cheap thrills.
Three sequences are linked together in this short film by Jean-Marie Straub; the first sequence is a long tracking shot from a car of prostitutes plying their trade on the night-time streets of Germany; the second is a staged play, cut down to 10 minutes by Straub and photographed in a single take; the final sequence covers the marriage of James and Lilith, and Lilith’s subsequent execution of her pimp, played by Rainer Werner Fassbinder.
Jan Lenica’s semi-autobiographical movie about a life of a man under the number “44”. He experiences bureaucracy, abusive step-parents, oppression from the government and society. In the end, he tries to get away to the “lost paradise”.
Mark Twain’s essay is brought to life with this film telling the Civil War story of a Confederate troop who has not been exposed to the atrocities of war. The film also adapts Twain’s short story “The War Prayer”.
When it was released in 1950, The Sinner inspired vigorous protests and caused huge controversy for a film industry just getting back on its feet. Its tale of a young woman who survives as a prostitute after the war and later falls in love with a dying artist shocked conservatives and religious authorities. A popular actor and director of comedies since the 1920s, director Forst, in his first postwar movie, reveals a considerable feeling for melodrama. His narration proceeds without any sensationalism, and the theme of a great, ill-fated love is skillfully developed through the unfolding memories of the woman.
Who Was Edgar Allan? is a television adaptation of Peter Rosei’s post-modern thriller of the same name in which a student travels to Venice to study against the wishes of his father and meets a mysterious figure who calls himself Edgar Allan. Mysterious deaths, all-seeing eyes, strange misunderstandings, and odd father figures are elements which structure Michael Haneke’s television-thriller. The director’s later concerns with media, invisibility, surveillance, and the bourgeois family are already present here.