Sono passati due anni dalla fine della prima serie TV, ed Edward si trova ora in un mondo simile al nostro, precisamente nella Germania del 1923, e sta cercando in tutti i modi di tornare ad Amestris. Nel tentativo di tornare a casa, tuttavia, Ed ha attirato l'attenzione della Società di Thule, intenzionata ad aprire un portale per la leggendaria Shamballa, che cercherà in tutti i modi di impossessarsi dei risultati delle sue ricerche.
Storia della famiglia tedesca degli Essenbeck, industriali metallurgici, nel biennio 1933-34, dall'incendio del Reichstag alla “notte dei lunghi coltelli” in cui le SS fecero strage delle SA. Poeta del negativo, Visconti riprende qui – tenendo d'occhio Macbeth di Shakespeare, I demoni di Dostoevskij, Götterdämmerung di Wagner e Thomas Mann – la sua vocazione di registratore di crolli, profanatore di romanticismi, cantore di corruzioni e dissoluzioni. Forzature, dissonanze, compiacimenti sono i peccati minori di un film di fosca potenza, con attori di prim'ordine. Ribattezzato malignamente “La saga dei Buddenkrupp”.
One of the last great German Expressionist films of the silent era, Joe May’s Asphalt is a love story set in the traffic-strewn Berlin of the late 1920s. Starring the delectable Betty Amann in her most famous leading role, Asphalt is a luxuriously produced UFA classic where tragic liaisons and fatal encounters are shaped alongside the constant roar of traffic.
In this realistic, unsentimental portrait of Germany’s dire economic situation, a middle-aged payroll clerk loses his job due to technological advances and, unable to find another, descends into despair. The film’s director, Marie Harder, was one of only a few women directors of the time and was also the head of the German Social Democratic Film Office. She made only two known films before her accidental death in exile in Mexico in 1936.
In this docudrama Rosa von Praunheim looks into Johann Wolfgang von Goethe’s sexual orientation, especially into his erotic experiences during his travels in Italy. Contrary to the common belief, von Praunheim argues that Goethe was not a heartbreaker and conqueror after all. It was only in Italy, that he had diverse sexual experiences, not least with men. Von Praunheim bases his assumption on letters written by Goethe to his friend Friedrich Heinrich Jacobi about these sexual encounters. Some of the content of these letters is re-encated in the film. At the same time, historians and linguists analyse and classify the letters into their historical context.
A lighthearted psychodrama about mommy issues and Hillary Clinton.
In this film essay, critic Peter Buchka explores the German cinema of the 1920s, ranging from the disquieting images of Fritz Lang's Metropolis to the castrating sexuality of Marlene Dietrich in Die Blaue Engel. The program provides an introduction to Weimar cinema, with Buchka's essay narrated over the images from film clips of 1920s era German films.
Report from the party congress of the Liberal Democratic Party of Germany (LDPD) from April 5 to 7, 1982 in Weimar.