John Erdman

A character simply named Old White Male holds court in the lobbies of various apartment buildings in Buenos Aires and expounds with measured disgust on death, consciousness, and the state of contemporary human relations. The man’s mostly unsolicited remarks form an unsparing, stitched-together modern-day monologue that alternates between absurd and chilling, reasonable and grotesque. Filmed in Buenos Aires in October 2019, Heinz Emigholz’s spare continuation—and sardonic distillation—of certain themes explored in The Last City is morbid, confrontational, and hilarious.

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.

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.

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.

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

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.

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.

Agatha is an international lawyer, Jo a filmmaker. The two women are lovers. While Jo is on the road showing her films, Agatha discovers and reads her diaries. Problems ensue as Agatha's transgressions lead to jealousy and a spiraling cycle of sexual obsession.

Set in a summer cottage colony on Long Island, New York. It looks at the voyeuristic and exhibitionist activities of its residents.

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.

Rainer’s landmark film is a meditation on ambivalence that plays with cliché and the conventions of soap opera while telling the story of a woman whose sexual dissatisfaction masks an enormous anger.

Embodying Rainer’s aesthetic rigor and wit, the film combines fiction and documentary, script readings, dance snippets, still photos, and tableaux vivants to explore issues of power and gender that influence the emotional lives of her performers.