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- Though he never actually worked in Hollywood, Rainer Werner Fassbinder, who died in 1982 at the age of 36, was influenced greatly by Amercian studio films of the 1950s and the convention of melodrama (the link most often mentioned is Douglas Sirk). With actor-turned-filmmaker Ulli Lommel as host and guide (he appeared in Fassbinder's very first feature, Love Is Colder Than Death, in 1969), documentary filmmaker Robert Fischer conducts a tour of Hollywood today, pausing to chat with cinematographer Michael Ballhaus and actress Hanna Schygulla # both charter members of Fassbinder's tight-knit stock company of technicians and players # as well as Wim Wenders, who found the toehold in the studio system that Fassbinder never had. The proceedings are liberally sprinkled with clips from Fassbinder's films, as well as glimpses of a theater company in Los Angeles that specializes in performing the director's plays. As Fischer makes clear, Fassbinder's influence on Hollywood is not only still being felt today, but is gathering a dramatic force that will serve to introduce his oeuvre to a new generation of moviegoers.
- A fascinating and absorbing documentary about the making of Jerzy Skolimowski's cult favourite, DEEP END, which was shot in 1970 as a US-German co-production on location in London and Munich. The film's two stars, Jane Asher and John Moulder-Brown, 23 and 17 years of age at the time respectively, meet for the first time in 40 years and discuss their on-screen and off-screen relationship in candid detail, while director/writer Skolimowski chronicles the production history from the writing of the script to the film's acclaimed first showing at the Venice Film Festival. Director of photography Charly Steinberger revisits some of the original locations and explains how he managed to shoot almost the entire film with a hand-held camera. Also on board are production designer Anthony Pratt, editor Barrie Vince, and actor Christopher Sandford, each of whom contributes his own version of how DEEP END was part of the sixties' "swinging London"; and at the same time tilted it on its head.
- Jacques Rivette looks back (in 1990 and in 2004, right after releasing 'THE STORY OF MARIE AND JULIEN') on his unfinished quartet 'Senes From A Parallel Life'. Rivette talks about the two films that indeed got made: 'Duelle' and 'Noroit', and about the films that did not materialize on film. The biggest part of the interviews was handled by his lifelong friend Wilfried Reichart.
- In this video interview, actress Angie Dickinson discusses in great detail her contribution to Brian De Palma's Dressed to Kill.
- In November and December of 1975, between the two shooting phases of SATAN'S BREW, Rainer Werner Fassbinder shot a film for television that, without a doubt, is one of his most personal works. This one-hour documentary was made during and immediately after its restoration in 2010. Even though this Fassbinder film is based on interviews with a convicted murderer, there is no other character in all of his films that Fassbinder identified with more than the young construction worker Peter (Vitus Zeplichal). This film concentrates on the reasons why, or rather, the plausible reasons. So it is not just a belated 'making of' but a film about the human being Rainer Werner Fassbinder and his artistic motivation.
- ALDRICH OVER MUNICH is a feature-length documentary on the making of Robert Aldrich's political thriller TWILIGHT'S LAST GLEAMING (1977). Maverick director Aldrich shot the film in and around Munich, Germany, with the Oval Office and other interiors built by Rolf Zehetbauer on sound stages at the Bavaria studios and locations in rural Bavaria standing in for Montana. Featured in the documentary are Aldrich's daughter Adell, assistant director Wolfgang Glattes, veteran actor Gerald S. O'Loughlin, camera operators Gerhard Fromm and Dieter Matzka, as well as Aldrich expert Alain Silver.
- A documentary about the making of Billy Wilder's penultimate film, Fedora (1978), a book-end to his classic film about Hollywood, Sunset Boulevard.
- 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. The documentary Der Film verlässt das Kino: Vom Kübelkind-Experiment und anderen Utopien centres on how the Geschichten vom Kübelkind, now rediscovered and restored, actually came about. Edgar Reitz, Ula Stöckl, Werner Herzog, Alexander Kluge and other filmmakers and contemporaries look back on the conditions that made this and other such visionary projects possible 50 years ago. They are all concerned with the question: What will the future of moving pictures look like.