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"Heroism after Hours" (German: "Heldentum nach Ladenschluß") is a 1955 West German anthology comedy film. It is in four parts each portraying a different tale of German soldiers attempting to get home at the end of the Second World War.
Kwasa and Fils are two Rwandan 20-somethings, born into the hell of a post-genocide nation. The film follows their victories and struggles as they try to find work, fall in love, and deal with the deep wounds of their past.
A literary teacher Antonina Sergeevna goes to work at an elite physical and mathematical lyceum from a regular school. She is surprised to see how respectful the students are here - as to full-fledged creative personalities. Soon she begins an affair with a young school principal - a talented physicist, candidate of science. But the euphoria of the first months of communication with students is replaced by disappointment - her pets turn out to be cold, rational people, almost indifferent to the beautiful ...
Suzanne is a young, blind teacher. Within a small community of the visually impaired, she assiduously follows a course in art history devoted to the erotology of Satan and to witches. Transformed, Suzanne tries to steal a man's eyes in order to get her sight back. The failure of her first attempt leads her to more easily approachable and impressionable prey, her personal reader, Pierre, who is madly in love with her.
Remo Caprino loosely and grippingly tells the story about the making of the now beloved norwegian movie, the production itself and the cultural impact it has had for almost 40 years.
A combination of animation, performances and news footage, examining the period of Thai politics defined by the military coup of 2006 and 2014.
All she wanted was to do something nice for her better half when he woke up on his birthday. But morning breath won’t be the only problem to be solved. An unerringly accurate and relentlessly honest comedy, brilliantly and unpretentiously acted by director Magnúsdóttir herself. The short film kicks off the TV series by the same name.
An unrelenting personal report of a faltering relationship in the aftermath of Egypt's Arab Spring.
“After So Long // बरसों बाद” is a visual poetry set in Mumbai (India) and voiced by Simha and their parents to symbolise their connection with each other; a walkabout through time and memories. Directed by Varsha Panikar, the film takes inspiration from vintage-home-movie culture to create a contemplative and nostalgic vignette of an artist’s spiritual journey out of the darkness and into the light.
A docudrama telling the story of the events that unfolded when a Scottish army led by Robert Bruce tried to drive the English out of Ireland 700 years ago.
Journey through the human experience as the pandemic tests what we are made of both as individuals and as a culture.
An updated version of Strindberg’s play examining class and social differences. Julie, the daughter of an MP, seduces her father's chauffeur, despite his being engaged to the maid.
A third part of story about a Soviet spies trying to infiltrate German Intelligence center "Saturn" during and after the WWII.
Film about two old women working many years in the loading, unloading and transporting of bricks.
At the commission of the Ministry of Education and culture, this documentary focuses on the dependence on alcohol in adolescents. The film is a unique account of its time as it captured harrowing stories of one generation which existed despite the efforts of the state to promote society as flawless. The film is meant to be a warning to all teenagers who find themselves on the edge.
In 1860, Max Havelaar was written by the famous Dutch writer. Multatuli was first published "The book that killed colonialism”. In one and a half century after it was written, many scholars reflected on whether the book is a made-up story or a collection of facts. However, no one seems to have ever asked the question: what happened to the oppressed people of Lebak, which Multatuli stood up for? The documentary film After Multatuli Left tries to find out what has or has not changed since then by following the trail of Arjan Onderdenwijngaard’s video footage in 1987.
Is anything changing in life when in a film your characters death, mourning the loss of beloved one - parents, children is played? In Life After Death, this question is posed in different forms to three generations of actors.
