Ramin Reza Molai

An elderly man lives a solitary and rhythmic life by a dilapidated mill near a river. His days are spent almost entirely in silence, fishing under the shade of a massive, ancient willow tree that seems as old and weathered as he is. One Sunday, while fishing, he witnesses a murder.

A woman leaves her husband and starts living with a Turkish man.

A young boy learns of his mother's occupation while trying to save money for a bicycle.

Turkish migrant Husseyin spends his days in hypnotic routine as a “guest worker” in ‘70s West Berlin, living in a small, shared apartment and commuting daily to his job at a factory pressing machine parts. Diligently saving up his wages he hopes to one day marry and buy a house back home, but his immediate future in Berlin is clouded by indignities at the hands of racist coworkers and botched attempts at romantic intimacy.

Historian, author, and movie critic Lotte H. Eisner is the subject of this documentary. She recalls her early childhood in Germany and her association with such legendary directors as F.W. Murnau and Fritz Lang. Leaving Germany for Paris in 1933, her anticipation of WW II saw her relocating to the South of France. Eisner gives her considerable and insightful opinions on classic German Expressionist Films, as several of her admirers drop by during the interview conducted by director Sohrab Shadid-Saless.

Documentary on the life of Cechov.

A treatise on love and desire tainted by harsh reality of capitalism, in which submission to the laws of lust-as-commerce is played out by five prostitutes and their pimp, who pits them against one another so that they are incapable of standing up to him collectively.

A young man lives through the end of World War II

Herbert (Heinz Lieven) is a solid, middle-class engineer who one day quits his job and ensconces himself at home (preferably in the bathroom), refusing to say very much to anyone. His wife (Dorothea Moritz ) is all the more upset at his behavior because on Sunday mornings he goes out into the street and yells at the top of his lungs for everyone to "get up." Eventually, the hard-working wife who is also earning their support convinces Herbert to go to a clinic for treatment. But is it a clinic he needs? Or is Herbert rebelling against a society that is too ordered, too sterile, too buried in the monotony of routine?