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Six years in prison have given Parrish plenty of time to meditate on his criminal career and to devote himself to reading the Bible. Once he's at last released, Parrish quickly sets out to re-establish ties with his former colleagues in the criminal world, and get back in the game. Unfortunately, times have changed during his absence – dramatically. The power his gang once possessed has moved into the hands of their adversaries, who now seek to eliminate anyone who might pose a risk to their dominance of the streets. Unable to count on anyone's help, Parrish embarks on solitary quest for a peaceful place, somewhere far from the rage and pain of men. If it is redemption he seeks, Parrish will have to take the road that leads to Nod.
A rainy day at the Industrial Museum of Syros, Greece, the Museum's director, collects information on an old shipwreck. He then sails with his team of divers to the island of Kea, in the Cyclades. A wreck is located at a depth of 55 meters: a steam engine paddle ship - a timemachine that takes us back to the era of sails and steam...
[In Greek, with English subtitles]
"Once upon a time, that's how fairy tales begin - these were sometimes my mother's closing words when she was telling us children about her youth in Nidden, and what she meant was that it was over. How does a person recall things if she is suddenly obliged to leave her home when still young, and notpermitted to return for fifty years, and precisely what does she recall? Does she feel homesick for her youth? The film gives very personal answers to these questions, and yet they may be applicable to many. (H. Schulzeck)
The film-maker questioned his mother, who was born in 1923, the second child of a fisherman's family living in Nidden on the Curic spit. In 1945, she was obliged to flee to Schleswig-Holstein, where she still lives today. Twice whilst making this film - in the summer of 1997 and the winter of 1998 - the director accompanied his mother to her home to her home, which is now part of Lithuania.
Candida Röhlmann-Schmidt vom "KunstWeltspiegel" macht eine Reportage über den kürzlich verstorbenen Begründer des Zeroismus, Jens Klipper.
Der ehemalige Atelierknecht und jetzige Nachlaßverwalter Klaus Born erzählt ihr von Jens Klipper und seinem Bestreben, "eine Kunst zu schaffen, mit der niemand etwas anfangen kann".
Überwältigt von Klippers kinetischen Objekten, die Born der jungen Journalistin auf dem Dachboden seines Hauses zeigt, versucht sie ihn davon abzuhalten, das Vermächtnis des Jens Klipper zu erfüllen - doch vergebens:
Der Atelierknecht sieht es als seine moralische Pflicht an, den Zeroismus zu vollenden.
" Denn nur wo nichts ist kann niemand nichts damit anfangen!"
45 minutes of film only about an accordion - isn't that a bit boring?
No, we shot this film for almost 2 weeks and discovered something new every day. Nothing boring at all. This is due to the instrument itself, its aura, its breath, its unbelievable acoustic richness. An accordion was completely dismantled before our eyes – the complex mechanical apparatus which gives rise to such sounds discredits people who view the accordion as a mere popular instrument.
And is also due, of course, to the accordionist himself: Teodoro Anzellotti is simply the best, most virtuoso, advanced accordionist alive today. Which is not to say that he is satisfied with himself. It is the range of his knowledge and his ambition which, to be quite honest, has taken the accordion out of the stale, claustrophobic club atmosphere and the tango corner and made it what it is today: a mature, very flexible and sensitive solo concert instrument for primarily contemporary music for which more new literature has been composed recently than for any other instrument by far. It was highly overdue to make a film about it: About Anzellotti and about his accordion.
And why did you shot the film in Italy? After all, Anzellotti lives near Freiburg in Southern Germany!
Very simple: On the one hand because Anzellotti is of Italian birth and knows many people there, is among friends, so to speak, which gives the film a very warm atmosphere. There is much laughter, many jokes are made, and although it rained almost constantly throughout the shoot, one simply feels this special light which distinguishes Italy from all other countries.
On the other hand, Italy has the most beautiful theatres in the world, and we were able to record the concerts for the film in some of them. No photographer and no film maker would voluntarily pass up the chance to shoot in these marvellous locations, where this music blossoms out with an ease which is far from the bone-dry or better “beer-serious” (to coin a German phrase) attitude with which New Music is performed in Germany at the moment. We found our locations in Macerata, which has a "two-thirds-Scala" and in Panicale near Perugia, in a mini-Scala for no more than 100 spectators. I have never seen something like it.
We were striving for a film -- this may well be a typically German quality -- , that starts at the beginning, keeps going to the end and then stops but which nevertheless has a certain charm, allowing people to laugh and at the same time see that others can laugh about themselves. And this despite the fact that the film actually deals with contemporary music for the accordion. Piazzola, Globokar, Sciarrino, Berio and Satie - serious contemporary music, music that many people claim sounds terrible and cannot be understood. Not that one needs to understand everything when listening to this music. What has to be understood is imparted in a cheerful, natural way. The composers who took part in the film have helped us very much - and Teodoro Anzellotti himself, of course, who tells us that he was obsessed by his instrument from early childhood. These are human constellations which one cannot necessarily plan, they either happen or they don't, which is why this film is a documentary.
We have been pretty lucky this time, managed to meet the right people at the right time. This is not my first film on contemporary music; I know what I am talking about when I say that we have never had so much luck as this time. And in the end one will realise that this music doesn't sound so terrible after all. It is something quite natural to compose music like this for this instrument, and the worlds revealed to us through this instrument are completely wonderful.
The film is called: The Art of Seduction. Where does this title come from?
Actually, this question has already been answered .The first time I met Teodoro Anzellotti was at a concert in Berlin. I was astonished that only one musician, alone on stage, can unfold such gigantic rooms, rooms that are even bigger than those our eyes can see. And all this with a relatively small instrument. It was actually Teodoro Anzellotti who seduced me to want to crawl inside the instrument, into the innermost part of it, the place where the sounds evolve and into the inside of the sounds. This is why the film experiments with different rooms: large rooms which, related to the music, suddenly appear out of nothing and then disappear again. The idea is to perceive different states by totally devoting myself to music when listening to it. This is the art of Teodoro Anzellotti and also the topic of this film. And it is my homage to him, and my hope, that this experience can be conveyed to a larger audience.
As Peter hunts, trains wild horses and struggles to instill the values of independence and courage in his kids his escalating struggle with his own father has profound consequences for the entire Karena clan. Capturing their precipitous existence with equal parts glorious abandon and painful suspense Peter and Colleen set up a series of makeshift camps as their brood of fearless kids ride bareback across the wild New Zealand landscape. But ultimately, this complete immersion in another way of life reveals that the price of freedom is something that is well worth paying.
The model farm \"Gaini\" and home of family Strazdini used to be an abandoned piece of land and forester\'s house. Now here their hearts in development are putting three generations but the film is about the youngest of them - 4-11 year old generation. Martins, Elina, Raitis and Kristaps are learning to think, understand and work by living through the seasons and watching their parents and grandparents. Also to understand the beauty and possibilities offered by their own land. So that luck would not be searched somewhere else.
A film about Eduardas Jonusas, Lithuanian painter, sculptor, philosopher and poet. An individual caught between nightmare and art. Art that finds its space in apocalyptic world views and allows the artist to overcome his trauma and survive. The film takes us back to Jonusas’ past: idyllic rural childhood, Soviet invasion in 1945, torture in a KGB prison. Whether cleverly outwitting the KGB in the 60s and 70s or fighting for freedom as Russian tanks roll into Vilnius in 1991, Jonusas always manages to defend himself.
Pedro ist spanischer Qualitätsingenieur, der in Hamburg das Zusammenfügen des spanischen Hecks mit der deutschen Rumpfsektion kontrolliert. Pedro findet die Deutschen und ihre Kultur kompliziert. Jörg ist Elektriker und arbeitet in Hamburg, zeitweilig in Toulouse. Seine Freundin hat Probleme mit dem Pendeldasein. Der Franzose Martial bearbeitet die Fenster des Cockpits und führt eine Familientradition fort. Sein Vater arbeitete schon bei Airbus in Saint Nazaire. Ken ist englischer Teamleader und verantwortlich für die Elektrik an britischen Flügelsektionen. Er ist Pendler zwischen Brougthon und Toulouse, aber auch Vater, Großvater und leidenschaftlicher Motobike-Fahrer. Ingo repräsentiert eine mehr als 30jährige deutsch-französische Airbus-Geschichte. Denn er ist mit der Gründung des europäischen Unternehmens Airbus nach Toulouse gekommen, ist Flugzeugingenieur und Belegschaftsvertreter für die Deutschen in Toulouse. Er ist „der Deutsche für die Franzosen“, aber „der Franzose für die Deutschen“.
So wie die Airbusbauer europaweit nach Toulouse zur Endfertigung des Riesen reisen, gelangen die Flugzeugteile des A380 auf verschiedenen Wegen in die dortige Endmontagehalle. Die Zuschauer erleben den gigantischen Transportaufwand, die Gigantonomie der Produktionshallen, der Transportmittel und der Einzelteile und schließlich das allmähliche Zusammenfügen der Flugzeugteile zum Riesenairbus.
58 Minuten, Deutschland 2006, HD cam, 16:9,
Eine Koproduktion der Kern TV mit dem ZDF in Zusammenarbeit mit ARTE, gefördert von der Hamburger und Hessischen Filmförderung, 2006