Decalogue ISeptember 5, 1989
Krzysztof, a semantics professor and computer hobbyist, is raising his young son, Paweł, to look to science for answers, while Irena, Paweł’s aunt, lives a life rooted in faith. Over the course of one day, both adults are forced to question their belief systems.
Decalogue IISeptember 6, 1989
Dorota Geller, a married woman, faces a dilemma involving her sick husband's prognosis. Her husband's doctor, who believes in God, sweared about it in vain.
Decalogue VISeptember 10, 1989
A teenage postal worker, Tomek, routinely spies on his older neighbor Magda, a sexually liberated artist who lives in the apartment across the courtyard from his. As their private worlds merge, fascination turns to obsession, and the line between love and curiosity becomes violently blurred.
Decalogue VIIISeptember 12, 1989
Zofia, a professor of ethics, is visited by Elżbieta, an American researching the fate of Jews who survived World War II. A daytime classroom conversation turns into a night of confrontation, and Zofia is forced to answer for a decision she made decades ago that directly affected the course of Elżbieta’s life.
Decalogue IIISeptember 7, 1989
It’s Christmas Eve, and Ewa has plotted to pass the hours until morning with her former lover Janusz, a family man, by making him believe her husband has gone missing. During this night of recklessness and lies, the pair grapple with choices made when their affair was discovered three years ago, and with the value of their present lives.
Decalogue XSeptember 14, 1989
Jerzy and Artur’s father dies, leaving behind a valuable stamp collection, which, they discover, is coveted by dealers of varying degrees of shadiness. The more involved the brothers get in their father’s world, the more dire and comical their situation becomes.
Decalogue VSeptember 9, 1989
Jacek, an angry drifter, murders a taxi driver, brutally and without motive. His case is assigned to Piotr, an idealistic young lawyer who is morally opposed to the death penalty, and their interactions take on an emotional honesty that throws into stark relief for Piotr the injustice of killing of any kind.
Decalogue IVSeptember 8, 1989
A father and daughter, Michał and Anka, have a unique intimacy, which the college-aged Anka is beginning to feel conflicted about. When she finds an unopened letter from her deceased mother, it seems to justify her attraction to Michał, who may not in fact be her father.
Decalogue IXSeptember 13, 1989
Roman and Hanka have a loving marriage, but his impotence has led to her having an affair. The unbearable situation drives Roman to extreme measures both physically and mentally, testing their love and his own will to live.
Decalogue VIISeptember 11, 1989
As a high school student, Majka bore a child, Ania, whom Majka’s mother, Ewa, has been raising as her own. Now that Majka is ready for motherhood, Ewa refuses to let go, leading Majka to kidnap her own daughter, with unexpected emotional consequences.
Marianne and JulianeSeptember 4, 1981
Germany, 1968: The priest's daughters Marianna and Juliane both fight for changes in society, like making abortion legal. However their means are totally different: while Juliane's committed as a reporter, her sister joins a terroristic organization. After she's caught by the police and put into isolation jail, Juliane remains as her last connection to the rest of the world. Although she doesn't accept her sister's arguments and her boyfriend Wolfgang doesn't want her to, Juliane keeps on helping her sister. She begins to question the way her sister is treated.
A.D.A.M.April 21, 1988
Anthropologist Tobias Schmidt-Eberbach is about to get married. However, a find of a prehistoric skull on his wedding day messes up his plans. So does hitchhiker Uschi Mueller who he picks up merely by accident. It does not help that the police thinks that Tobias is a serial killer and Uschi his next victim, and neither that the real killer is still on the loose…
Lemmings, Part 2 – InjuriesMay 3, 1979
This two-part drama examines the fate of Haneke’s own generation which came of age after World War II. The first part depicts the generational gap between 1950s teenagers and their parents while the second shows this same group of characters twenty years later as they have grown up to be dysfunctional and suicidal adults. Regarded as the most significant of Haneke’s early works, Lemmings contains incipient treatments of many of the themes he would later elaborate on in his theatrical features.
Linie 1February 11, 1988
Film version of the musical by the same name: Sunnie, a girl from the province, comes to Berlin to meet rock star Johnnie who had given her his address after a concert. On the subway to Kreuzberg, Sunnie becomes acquainted with a couple of strange people, among them "asphalt cowboy" Bambi. Bambi tells Sunnie that Johnnie’s address in Kreuzberg does not exist. Together, Sunnie and Bambi try to find the rock star in bustling metropolitan Berlin.
A Demon in My ViewSeptember 23, 1991
A strangler known as the Kenbourne Killer has been murdering streetwalkers for 25 years. The police set out to track him down.
Cycling the FrameAugust 30, 1988
This is a short film (30min), part documentary part art-film, about the Berlin Wall back in 1988 when West Berlin was still an isolated fiefdom of the capitalist west, located 125 miles behind the Iron Curtain in communist eastern Europe. The film follows a young girl (Tilda Swinton of Narnia fame) and her thoughts as she circumnavigates West Berlin alongside the 96 mile long, iconic, symbol of the cold war. The film blends visual and audio art into a montage of simple scenes depicting the wall, its watch towers and life along the border strip just as it was a year before the wall fell and the cold war ended.
Underground and EmigrantsOctober 25, 1976
In this film, outspokenly homosexual filmmaker Rosa von Praunheim has documented his encounters with friends in the New York "underground" arts movement, the better-known of whom are William Burroughs (who says nothing for the camera), Andy Warhol (seen in the distance) and Fernando Arrabal (who is interviewed in Spanish). The emigrants named in the title are notable Germans who left the country before World War II, such as Greta Keller and Grete Mosheim. Reviewers at the time of the film's release considered it to have been a sort of paid vacation for the filmmaker rather than a serious effort. (Clarke Fountain, Rovi)