Kairos-Film

Nine fictitious documentaries and films reflect the mood of late 1970s Germany, particularly the two-month period in 1977 when a businessman was kidnapped by the RAF (Red Army Faction). The kidnap had been made to orchestrate the release of the original leaders of the RAF, aka the Baader-Meinhof.

A young German woman searches for happiness, liberation, and independence in the illusive wake of a transformative national recovery.

Made with an eye to the autumn of 1980 when the German parliamentary elections took place, The Candidate examines Germany’s history past and present and Franz Josef Strauß, the man who, as the CDU/CSU candidate, aspires to be elected to the most important political office in the land.

Outer space in 2034 is run by greedy corporations in a rundown bureaucracy. Two astronauts, who are not very smart, make their way with shady dealings, smuggling and spaceship wrecking.

The third episodic film, after Deutschland im Herbst and Der Kandidat, in which notable German filmmakers reflect on the state of their country. A collage of documentary and dramatised sequences dealing with such topics as overkill, peace demonstrations, NATO arms policy, and life after the next war.

Roswitha runs an illegal abortion clinic in Frankfurt to support her student husband and children. When she is forced to close her practice she delves into political and social activism.

Emotions and feelings should not be confused with sentimentality. Emotion is ancient and more powerful than any artistic expression. The film observes young couples facing difficulties while trying to move their love experiences towards clear decision making. A film full of ideas, details and associations, fictional scenes, documentary footage, archival materials and opera music.

At 91 years of age, Alexander Kluge is solidly regarded as a trailblazing figure in New German Cinema and the avant-garde. He remains active and curious about media, so it’s no wonder that he recently began experimenting with artificial intelligence. He has been exploring a particular programme developed in Munich for medical research, which he systematically strains in order to find his images at the farthest ends of the system's creative faculties. With these, Kluge plays in the same essayistic fashion beloved from his television work – historical footage and a plenitude of texts, comics, charts and cabaret. In short: facts and fictions freely intermingle.

Short science fiction film with footage from Willi Tobler und der Untergang der 6. Flotte.

A drama that strings together vignettes of events taken from everyday newspaper headlines. Germans are shown in their reactions to World War II, minorities, and the elderly. A side plot follows a meeting between former West German Chancellor Helmut Schmidt and East German leader Erich Honecker.

On the one hand, the beyond-Tropicália surreal, wild, ecstatic universe of Khavn de la Cruz, the Philippines’ internationally most venerated underground filmmaker. On the other, the Frankfurt School dialectics of Alexander Kluge, self-proclaimed arrière-guard eternal of 1960s modernist moviedom, Gandalf of all essay cinema. For Happy Lamento, Kluge mixed some of his weirder TV skits on electricity, the circus, revolution and early cinema (featuring Fassbinder-regular Peter Berling, theatre genius Heiner Müller, and DaDaism’s last man standing, Helge Schneider, among others) with some of the more outrageous scenes from Khavn’s 2016 Ang Napakaigsing Buhay Ng Alipato. Some 2017 G20 shots of Merkel and Trump et al inject the already heady brew with current affairs urgency.

A young circus director ends up going into television after her father, a trapeze performer, dies in a circus accident.

A poignant film essay about 'superfluous people' facing up to a moment of crisis in their lives.

Gabi Teichert, a history teacher, is unhappy with the way history is portrayed in textbooks and is looking for an alternative, more practical approach to 'uncovering' the past, quite literally digging with the spade and dissecting books with hammers and drills.

On the subject of circuses during wartime, illustrations and more are shown.

Willi endeavors to survive in a world where annihilistic galactic battles rage, by taking a job at the centre of power. But it's the wrong side that he takes in this civil war...

Combining fictional and documentary modes, the film takes a critical stance toward Frankfurt's public sphere and urban redevelopment. Despite the serious formal and political concerns of the film, Kluge's heightened sense of the absurd safeguards a reserve of utopian optimism.

Mrs. Blackburn, born in 1872, i.e. before the history of cinema began, is Alexander Kluge's grandmother. Portrait of this lady.