Tag Archives: german subtitles
Vasilisa prekrasnaya / Vasilisa the Beautiful (1940) Aleksandr Rou, Georgiy Millyar, Sergei Stolyarov, Lev Potyomkin, Family, Fantasy
Based on a Russian folk tale, Vasilisa Prekrasnaya (Vasilisa the Beautiful) is about a father whose three sons go out to finds themselves brides. Two of the boys come home with perfectly normal girls, but the youngest brother, Ivanushka, brings home a frog from the marshes. His father finds this most curious, but what he does not know was that the frog was actually a beautiful girl named Vasilisa who was cursed by a magical serpent whom she refused to marry. Now Ivanushka must overcome tremendous obstacles to restore Vasilisa to her true form and free her from the serpent’s spell.
The Third Page / Üçüncü Sayfa (1999) Zeki Demirkubuz, Basak Köklükaya, Ruhi Sari, Erol Babaoglu, Drama
Isa is beaten up after being accused of stealing $50. When his landlord demands the back rent, Isa gets angry and shoots him. The police round up the tenants, but are not suspicious of him. Back in his room, Isa collapses and is helped by his pretty neighbor Meryem, who also pays the $50 when the thugs return. Isa promises to do anything for her, and tells her about his job as a TV extra. Meryem’s husband has left her with her two young children, while he is away working. When her husband returns and beats Meryem up, she asks Isa to kill him.
L’alcova (1985) Joe D’Amato, Lilli Carati, Annie Belle, Laura Gemser, Al Cliver, Drama, Romance, Erotic
A faded aristocrat military officer returns from the Abyssinian war with a dusky slave girl as a prize; at first, his bisexual wife and his secretary dislike the girl intensely, making racist comments about her skin colour and “smell.” But soon the girl charms her way into the mistress’ affection, supplanting both secretary and husband. This causes jealousies to fester.
The Fortune (1975) Mike Nichols, Stockard Channing, Jack Nicholson, Warren Beatty, Comedy, Crime, Romance
The early 1900’s with its Mann-Act (disallowing women to be transported across State lines for immoral reasons) brings a married man to devise a scheme for taking his upper-class girlfriend away with him… he simply has her marry his unmarried buddy. However, it doesn’t take very long before both men start laying claim to her affection… until, that is, she’s about to be cut out of her parent’s fortune. So, a new scheme is devised, which only adds to their problems, as well as to the sly whimsy of this film.
Forgetting Sarah Marshall (2008) Nicholas Stoller, Kristen Bell, Jason Segel, Paul Rudd, Comedy, Drama, Romance
Peter is a composer and a likable sad sack who’s devastated when his girlfriend of five years, Sarah Marshall, the star of a cheesy CSI-style crime show, dumps him. He weeps, he rails, he mopes. Finally, his step-brother Brian suggests Hawaii, so Peter heads for a resort on Oahu where, as he’s checking in, he sees Sarah and her new beau, Aldous, a polymorphously perverse English rocker. The weeping and moping start again, until Peter is rescued by Rachel, a thoughtful hotel clerk who invites him to a luau and to hang out. Although he constantly runs into Sarah and Aldous, Peter starts to come alive again. Will Sarah realize what she’s lost, and what about Rachel?
Il venditore di medicine (2013) Antonio Morabito, Claudio Santamaria, Isabella Ferrari, Evita Ciri, Drama
Bruno is a drug rep. His company, the ‘Zafer’, is going through a difficult time. So as not to lose his job, Bruno is willing to bribe doctors, deceive colleagues, betray the trust of the people closest to him. He’s the last link in the chain in the illegal yet widespread practice called “detailing”, which pharmaceutical companies resort to as a way to manipulate doctors by convincing them to prescribe their own products and not the competitors’. And while some doctors refuse to go along, many others have no such scruples. Bruno may seem to be a monster, yet he is nothing other than the product of the society around him: he embodies its contradictions, anxiety, corruption and impunity.
The first shot is a static image: a view from the stage of a theatre onto the auditorium. In the foreground – and on the stage – lies a dog. A woman named Irene (Angela Schanelec), approaches it, pets it. This seems to be a rehearsal, a few people occupy seats in the auditorium, they are somewhat restless. It remains unclear whether the events being presented to us are indeed part of a rehearsal, or whether, assuming a rehearsal is indeed underway, they are merely occurring along its margins. Angela Schanelec’s film “Afternoon” never returns to this initial image, never returns to the theatre. Only later will a figure from the same scene – the one involving the woman and the dog – describe it as something she saw in the theatre. The film quits the theatre for good, and all subsequent events transpire either at a lakeside villa in Potsdam or in the streets of Berlin. And yet it becomes evident at the latest during the credits that this first scene has established a space of play that is derived from the theatre. “Afternoon” is an adaptation of Anton Chekhov’s “The Seagull” – albeit a free one.
Bliss – directed by Doris Dörrie and adapted from the short story by Ferdinand von Schirach – recounts the tale of Irina, who leaves her war-torn country to become a prostitute on the streets of Berlin and Kalle, also living in on the streets of the German capital. These two individuals are alone and lost in the world until they are brought together through a chance encounter. As their relationship blossoms, a cataclysmic event threatens to destroy their fledgling love, with Kalle forced to extreme measures in order to preserve their happiness.