John Erdman

Wanda, a dominatrix who runs an S&M gallery on the Hamburg waterfront, must choose between her lesbian lover and an American trainee.

After Roy's demise, five friends try to reconstruct his life by reading through the late editor's notebooks - only to face some very personal demons. The Holy Bunch is a modernist melodrama: beyond-Antonioni in its images, decisively Dreyerian in its spirituality. One of German cinema's few modern (or Modernist) masterpieces.

A film director confides in his interlocutor. He talks about the working process, about creative blocks, about artistic crises and expressive forces. At some point, the idea takes hold that this conversation could be turned into a film. And this is the very film we’re watching the two of them in.

Stylized, black and white biography of Frances Farmer by author Lynne Tillman and Sheila McLauglin.

Not to be confused with Luc Besson's film of the same title from the same year. Documentarian Andrew Horn's second narrative feature.

A comedy about New York and its eccentric inhabitants. A French filmmaker comes to New York to show her film at MOMA. Fascinated by the city, she decides to stay.

An archaeologist and a weapons designer, who knew each other in a previous life as a filmmaker and a psychoanalyst, meet at an excavation site in the Negev desert and begin a conversation about love and war, which they continue in the Israeli city of Be’er Sheva. A series of encounters with alternating actors in different roles ensues, which leads the viewer through the cities of Athens, Berlin, Hong Kong and São Paulo. Among those appearing are: an old artist who meets his younger self; a mother who lives with her two grown-up sons, a priest and a policeman; a Chinese and a Japanese woman; a curator and a cosmologist.

Clonetown 1974 to 1979: a terrorist defector named Charon sits on the edge of oblivion and commentates on the imminent putrification of an abducted car dealer.