Rainer Werner Fassbinder, Alexander Kluge, Volker Schlöndorff - Deutschland im Herbst AKA Germany in Autumn (1978)

Quote:

In 1960s and 70s Germany, as an entire generation of young people sought to orient themselves on different influences and models than their parents’ Nazi-influenced past, disenchantment and social unrest were prevalent. Despite denazification, ex-Nazis held powerful positions in government and business. Ninety-five percent of the Bundestag in the late 60s was controlled by a coalition of the SPD and CDU headed by former Nazi Party member Kurt Georg Kiesinger.

The police killing of a peaceful protester in the Summer of 1967 sparked the beginning of violent actions by radicals known as the Red Army Fraction (RAF). The RAF quickly became the biggest challenge the West German government ever faced, culminating in a series of high-profile kidnappings and murders in the Fall of 1977 that shook the underpinnings of German society and spawned a number of conspiracy theories and widespread anger at the government’s response.

Single Link
http://www.filesonic.com/file/42330911/Germany_in_Autumn_(Deutschland_im_Herbst).avi
704MB
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VHSrip
eng hardsub
no pass

Rainer Werner Fassbinder - Rio das Mortes (1971)

Review
This made-for-TV drama is a minor but enjoyable entry in the Rainer Werner Fassbinder oeuvre. It captures the boredom and restlessness of the youth in the contemporary German milieu by following the mundane life of its three Munich residing protagonists. Michel (Michael König) and Gunther (Günther Kaufmann) are best friends since their schooldays, and Hanna (Hanna Schygulla) is Michel's college student live-in girlfriend who expects him to marry her. Michal works as a tiler, where he's unhappy with his dead-end job; Gunther just got out of the navy and is job hunting--trying to live up to his philosophy from his military days to "take the line of least resistance."

Though short on funds, the boys fantasize about going to Rio Das Mortes, Peru, and locating a hidden Mayan treasure. The entire pic is spent on them following through on this childish dream by trying to raise the bread, as the idlers put all their hopes on escaping the fatherland even though they are clueless about Peru. The long-haired hippie-like Michel sells his beloved sports car and works overtime, Gunther moves in with the couple to save on rent, they hit on Gunther's mom for a little bit of dough, fail in trying to talk a businessman in investing in a cotton farm in Peru and the working-class heroes get turned off by an overbearing Ph.D candidate who smugly tells them to get a government grant and he'll go with them. In between their adventure to get money, there's a comical bar scene of Hanna wildly dancing with barfly Fassbinder to Elvis' "Jailhouse Rock," a most amusing reading by Hanna of Lana Turner's bio (a reason alone to see the flick) and Hanna and five of her girlfriends doing a set 'anti-theater' piece where they are smoking and walking in a circle in front of a huge blackboard with a chalk drawn dick and above it is written "USSA." It concludes with the film never leaving Munich's airport but the boys by persistence and blind luck get someone to give them the dough. They leave an irate Hanna behind (it's harder for gals to follow their dreams) and she threatens to shoot them from an unseen distance as they board the plane for their misplaced adventure







Sngle Link
http://www.filesonic.com/file/41306187/Rio das Mortes.avi
http://www.filesonic.com/file/41306205/Rio_das_Mortes.srt
700Mb
or
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http://www.filesonic.com/file/41306201/Rio_das_Mortes.part7.rar
http://www.filesonic.com/file/41306203/Rio_das_Mortes.part8.rar

no pass

Rainer Werner Fassbinder - Angst essen Seele auf AKA Ali: Fear Eats the Soul (1974)

Plot:
Ali (Salem), is a young Moroccan Gastarbeiter (guest worker) in his late thirties, and Emmi (Mira), a 60-year-old widowed cleaning woman. They meet when Emmi ducks inside a bar, driven by the rain and drawn by the exotic Arabic music. A woman in the bar (Katharina Herberg) suggests Ali ask Emmi to dance, and she accepts. A strange and unlikely friendship develops, then a romance and finally they decide to marry.

What follows is a bitter and noxious reaction over their relationship. Gossipy neighbors treat them with contempt, complaining their (already noticeably dilapidated) tenement building has now become filthy. Emmi is shunned by her coworkers, and Ali faces discrimination at every turn. Emmi tells her son-in-law Eugen and daughter Krista (Fassbinder himself and Irm Hermann) that she is in love with Ali; Eugen thinks she is screwy.

Awards :

Cannes Film Festival - 1974 - FIPRESCI Prize & Prize of the Ecumenical Jury - Competition: Rainer Werner Fassbinder
Cannes Film Festival - 1974 - Nominated Golden Palm - Rainer Werner Fassbinder
German Film Awards - 1974 - Film Award in Gold - Outstanding Individual Achievement: Actress(Brigitte Mira)








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included: English SUB/IDX
no pass

Rainer Werner Fassbinder - Die Bitteren Tränen der Petra von Kant AKA The Bitter Tears of Petra von Kant (1972)

One of Fassbinder's most controversial films, The Bitter Tears of Petra von Kant is an obsessive, highly stylized look at the shifting power plays in relationships. Petra von Kant is an arrogant, caustic and self-absorbed fashion designer. She lives with her assistant who she constantly mistreats. Petra employs a new model and a lesbian affair unfolds. Fassbinder transcends the homosexual nature of the circumstance in this transparent exploration of dominance and submission.
Shot in a series of very long takes, The Bitter Tears Of Petra Von Kant is as claustrophobic a cinematic experience as you can have short of watching a movie in a wardrobe. It's a rare thing to spend an entire film in one location and with Fassbinder reluctant to move his camera we have no choice other than to engage with this group of women as the room they inhabit begins to close in on them.

Since cinema is a great means of escape, the idea of spending two hours in the one place with just a handful of characters may seem incongruous. However, what sounds dull on paper makes for truly compelling viewing. The cast are fantastic, with Carstensen and Schygulla on career-best form. And while the location never changes, the fact that Fassbinder favourite Kurt Raab designed the set and Martin Scorsese's cinematographer of choice Michael Ballhaus was behind the camera means that it's always beautiful to look at. And this being a Fassbinder movie, be sure to sit tight for a superb surprise finale in which the quietest of customers brings down the house.







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http://www.filesonic.com/file/36777089/r.w. fassbinder - the bitter tears of Petra von Kant (1972) cd2.avi
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http://www.filesonic.com/file/36777095/r.w. fassbinder - the bitter tears of Petra von Kant (1972) cd2.srt

no pass

Rainer Werner Fassbinder - Warnung Vor Einer Heiligen Nutte AKA Beware of a Holy Whore (1971)

from allmovie:
"Movies about making movies are usually concerned with the frantic desperation of a shoot, with crises popping up by the minute and everyone rushing about madly. Not so in Rainer Werner Fassbinder's film, allegedly about his experiences making Whity on-location in Spain. The first quarter of the film is taken up with a long scene in a hotel lobby which might have been directed by Michelangelo Antonioni. The lassitude and sense of sexual longing is almost suffocating, as members of the film within a film's cast and crew down drinks, break glasses, nuzzle on couches, or stare blankly into space. With the arrival of more money to continue the production and of the film's director (Lou Castel playing a handsome version of Fassbinder) and the film's star (Eddie Constantine more or less playing himself -- there is even a reference to his Lemmy Caution character), the energy level picks up -- especially when the director begins throwing hourly tantrums. And Fassbinder's narrative becomes more fragmented, featuring short snippets of conversations among the various characters, most of them complaining about someone else on the crew screwing things up. In one long and very funny scene, the director carefully reads a newspaper containing an article about him while a half-dozen other characters around him drift away. There is some witty use of music, too; three Leonard Cohen songs from his first album drone on during the long opening scene in the lobby, and later, a party scene plays out to Ray Charles' "Let's Go Get Stoned." This is all likely to be more amusing to those in the know about Fassbinder and his methods; less informed viewers are likely to see it as so much navel-gazing."









single link
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no pass

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eng subs incl.
no pass

Rainer Werner Fassbinder - Liebe ist kälter als der Tod AKA Love Is Colder Than Death (1969)

Love is Colder Than Death was Rainer Werner Fassbinder's first feature-length film (he had directed two shorts three years earlier: The Little Tramp and The Little Chaos), the story of a small-time pimp, Franz (Fassbinder), and his complicated relationship with his prostitute girlfriend, Joanna (Hanna Schygulla), and a criminal associate, Bruno (Ulli Lommel), who mysteriously and erotically enters their lives. Had the film been made at a later point in Fassbinder's all-too brief but remarkably illustrious and prolific career, the film's static aesthetic could have been read as a deliberate attempt on the director's part to show his critics that his camera need not move on inch to convey the same rapturous feeling of his greater films. Except Love is Colder Than Death is not a great Fassbinder film. Narratively and experimentally, it's neither exciting nor groundbreaking; since Fassbinder was still obviously trying to hone his signature Brechtian aesthetic, it may come as a surprise that the film echoes the French New Wave (namely Jean-Luc Godard's lyrical, postmodern masterpiece Band of Outsiders) than it does the cinema of Douglas Sirk. Essentially a glorified Calvin Klein advert, the rigorously symmetrical Love is Colder Than Death is drunk on vacuous posturing though you may be taken aback by the beautiful, unexpected shifts in register throughout (there's a half dozen scenes in which Fassbinder allows his camera to move sideways or forward in tandem with the filmic action, and every single one of these movements feels like a rapturous release from the film's otherwise stringent aesthetic). The film's blanched look evokes a heavenly realm where Franz and Joanna's love is constantly compromised by Bruno's threatening third wheel. When Lommel isn't rising alluringly into frame between Fassbinder and Schygulla, he points his gun at the empty space before him. There's no physical target per se, but Fassbinder's chic cuts-on-action repeatedly suggest that Schygulla's Joanna is the object of the man's secret scorn. These disquieting moments evoke a strange and complex sexual relationship between the film's characters—one that is bound to end in typically ravishing, Fassbinderian betrayals.






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eng hardsub
no pass

Hans-Dieter Hartl - Berlin Alexanderplatz - Beobachtungen bei Dreharbeiten (1979)

Description: A behind-the-scenes documentary providing viewers with an in-depth look at the making of this classic film biography of freed convict Franz Biberkopf. This made-for-TV production looks at the film's commentary on Germany society, both during the inter- war period of the movie, and that of today.






http://www.megaupload.com/?d=GTTBBSGR
eng subs:
http://rapidshare.com/files/425400036/32491_100826204733.rar

no pass

Rainer Werner Fassbinder - Acht Stunden sind kein Tag AKA Eight Hours Don't Make a Day (1972)

Description: Jochen and Marion
Jochen’s crew – they are tool makers – is under pressure. In 17 weeks, the four devices are supposed to be ready. Although they try very hard, it does not look like they will be able to do it. “You are too slow,” says Foreman Kretzschmer. “The calculation was too tight”, says the group. Sure – but this is why there will be a productivity bonus. In this screwed-up situation Jochen (Gottfried John) comes up with a suggestion for improvement. Thanks to a change in the construction, the work process will be fundamentally simplified, and instead of four, they will only require two gadgets. Jochen gets a bonus, there is a big party. However, in the midst of the great relief comes news from the management that the altered situation will have consequences: the productivity bonus is cancelled. If they do not want to simply give away their advantage, Jochen and his colleagues will have to come up with some idea.
In addition, Jochen meets Marion (Hanna Schygulla) in this episode. And Oma (Luise Ullrich) meets Gregor (Werner Finck). Further ...

Oma and Gregor
Oma and Gregor are looking for an apartment, but flats are expensive. If they put together both their pensions, they end up with 1085 marks. From this, they want to take 20% for rent, say Oma and Gregor, as this is the federal average.
But for 217 marks, they are unlikely to find a place they like – yet what they find are plenty of children out in the street. According to the opinion of Oma and Gregor, the kids would be much happier in a kindergarten. However, it appears that kindergartens are as scarce as apartments. When Oma sees that a branch of the local library is being vacated due to lack of interested readers, she has an idea. Together with Gregor and with the support of Marion and the capable help of Jochen and his friends, they establish a kindergarten. The latter is slowly but surely being accepted by the kids and their mothers. But now the real struggle begins, and it can only be won thanks to the crafty approach the women in the neighborhood take. In addition, Oma and Gregor find an apartment in this episode. And Monika (Renate Roland) decides to go back to work because Sybille (Andrea Schober) now has a place in the kindergarten. Further ...

Franz and Ernst
After Foreman Kretzschmer (Victor Curlandt) dies, Franz (Wolfgang Schenck), until then his deputy, is made acting foreman. The group takes it for granted that at some point Franz will be made proper foreman – and that it largely depends on some outstanding formalities. Franz has been studying for a long time in evening classes to take the examination for the master craftsman diploma. The group feels that once he has passed the exam, Franz will be promoted.
But the management has different ideas. They want to hire a young man from outside: Firstly, he has the required qualifications, and also he is a stranger to the group – and the management thinks that new brooms sweep well. Jochen’s group takes the opposite point of view. Why should our foreman not be someone who also has our support? And why should we not have a say in the choice of the man for whom we are supposed to work for eight hours each day? The group’s opinion is one thing, and that of the management is another. Franz is even entitled to listen to the firm’s gratitude towards him for acting as foreman during the interim. Ernst (Peter Gauhe), a young graduate from a Polytechnic Institute is introduced as the new foreman. The group fights – against Ernst, for Franz. But it turns out that they were mistaken, both with regards to Franz – and to Ernst. Further …

Harald and Monika
Tool makers are not just tool makers, and workers are not just workers. They also have feelings (big feelings and small feelings), preferences, private needs, psychological problems. This episode is mostly about challenges that take place before 7 am and after 4 pm. Monika would like to work again and she would like to divorce Harald (Kurt Raab) – but Harald wants neither, nor does he want to leave the daughter Sylvia to Monika. Jochen and Marion want to get married – but then there is Marion’s mother who envisions a different man for her daughter and especially not a worker. Oma is sick of being permanently tyrannized by her son-in-law Wolf (Wolfried Lier) – she moves out and although not married to him, starts to live with Gregor.

Irmgard and Rolf
Jochen’s crew finds out that their business is to be moved – somewhere to suburbia, they will build a new place, and the tool makers are to move out there too. This brings up a few problems. While for some the new place of work is closer to where they live, for most of the others it means a longer a commute – or they must move. A discussion arises as to whether it is not appropriate to ask the employer for support in such special cases. This leads to a much more general consideration: If they build a new factory would this not be the right place to think about working conditions in general? The first ideas are modest: better ventilation and more shower rooms – but eventually, the group develops a concrete idea about how they could organize their own work more effectively. Better means more freedom, independence, autonomy – it also implies more responsibility, harder work, taking more risks. The group only realizes the latter after the management has – as a surprise to them – agreed to an experiment based on the model the workers had suggested. It is fair to say that some learn quite a lot here. Rolf (Rudolf Waldemar Brem), for instance, learns why a profit the group makes must be evenly distributed to the group. And even Irmgard (Irm Hermann) learns something – not just something about her much-loved Rolf, but something about workers as well.








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eng subs
http://rapidshare.com/files/417563299/15704_100112012352.rar.html
no pass