Fiction FACTory Filmproduktion

Actors Tony Lo Bianco and Marilyn Chris, and editor Stan Warnow, discuss the 1970 film THE HONEYMOON KILLERS.

In June 2015, forty-five years after OUT 1 was made, the filmmakers went to Paris to interview cast and crew members and to revisit some of the film’s most significant locations. THE MYSTERIES OF PARIS features new contributions from actors Bulle Ogier, Michael Lonsdale and Hermine Karagheuz, cinematographer Pierre-William Glenn, assistant director Jean-François Stévenin and producer Stéphane Tchal Gadjieff, but also rare archival interviews with actors Jacques Doniol-Valcroze and Michel Delahaye and, most prominently, illuminating statements by director Jacques Rivette himself from two different archival interviews.

Allison Anders talks about her love for the work of film director Douglas Sirk.

The story behind the novel and the film Johnny Got His Gun by Dalton Trumbo.

Interview with actor William Reynolds about his role in Douglas Sirk's ALL THAT HEAVEN ALLOWS (1955).

Though he never actually worked in Hollywood, Rainer Werner Fassbinder, who died in 1982 at the age of 36, was influenced greatly by American studio films of the 1950s and the convention of melodrama (the link most often mentioned is Douglas Sirk).

Feature-length interview film with Bernhard Sinkel about his four-part film 'Fathers and Sons' (1986).

Film scholar Jan-Christopher Horak discusses Pabst's 1930 film "Westfront 1918".

Film scholar Janet Bergstrom discusses Sternberg's 1930 film starring Marlene Dietrich.

Documentary interview the director Ted Kotcheff on his film 'Who is Killing the Great Chefs of Europe?'

Archival interview with the co-writer of Max Ophuls' 1953 film THE EARRINGS OF MADAME DE...

Don Siegel’s classic crime thriller "Charley Varrick," made in 1972 in the wake of the immensely successful "Dirty Harry," stars Walter Matthau in what is probably the actor’s finest dramatic role, airshow pilot turned crop duster turned bank robber turned mob target Charley Varrick. This feature-length documentary takes the viewer back to the time of the shooting of this cult item and features original interviews with Siegel’s son, Kristoffer Tabori, actors Andy Robinson and Jacqueline Scott, stunt driver and actor Craig R. Baxley, composer Lalo Schifrin and Howard A. Rodman, whose father co-wrote the screenplay.

Film scholar Jan-Christopher Horak discusses Pabst's 1931 film

New interviews with star Jean-Pierre Kalfon; writer/director and Rivette collaborator Pascal Bonitzer; Rivette biographer Antoine de Baecque; critic/historian Sylvie Pierre; and archival footage of Jacques Rivette.

A documentary on the 1973 Sam Fuller film Dead Pigeon on Beethoven Street.

In an archival interview filmed in 1989, Daniel Gélin discusses his work on Max Ophuls' 1952 film LE PLAISIR.

Welles scholar Joseph McBride discusses the 1952 film adaptation of William Shakespeare's play. (A 32-minute edit of this documentary was presented by the Criterion Collection in their edition of Othello.)

This absolutely top-notch documentary by Robert Fischer is a fascinating look back at not just the film in question, but Fassbinder's meteoric career which ended all too soon with his untimely death. Archival footage of Fassbinder is utilized (including several fascinating snippets culled from interviews he did at the disastrous Cannes premiere of Despair), as well as many others involved in the film and its release. Even if you're not a particular fan of Despair, or even in fact of Fassbinder, this is stellar documentary film making and is an intriguing look at one of the most enigmatic masters of the New German Cinema.

For over half a century, the filmmaker Edgar Reitz, one of the signatories of the Oberhausen Manifesto and a pioneer of epic film narration, has explored, as a practitioner and theoretician, the rules and limits of cinema, which he always seeks to break and extend in new ways. One example of his tireless search and research are the Geschichten vom Kübelkind, which he co-directed with Ula Stöckl in 1969/70, 22 absurdly funny, subversive and anarchistic short films of different lengths, which consciously oppose all conventions, with incredible success. The films remain unrivalled in their Dadaistic inventiveness.

Ophuls scholar Alan Williams discusses the French director's 1950 film