Dateline- Unforgettable - (Jan 31st)
Ask This Old House - (Jan 31st)
Impractical Jokers - (Jan 31st)
The Rachel Maddow Show - (Jan 31st)
Divided by Design - (Jan 31st)
The Last Word with Lawrence ODonnell - (Jan 31st)
Found - (Jan 31st)
Miss Shachiku and the Little Baby Ghost - (Jan 31st)
Someday at a Place in the Sun - (Jan 31st)
Bargain-Loving Brits in the Sun - (Jan 31st)
Animal Control - (Jan 31st)
Matlock - (Jan 31st)
Law and Order- Special Victims Unit - (Jan 31st)
Going Dutch - (Jan 31st)
Ghosts - (Jan 31st)
All In with Chris Hayes - (Jan 31st)
The Traitors - (Jan 31st)
Sesame Street - (Jan 31st)
Tonight - (Jan 31st)
Building Outside the Lines - (Jan 31st)
The original title of Rainer Werner Fassbinder's 1974 film "Fear Eats the Soul" is deliberately ungrammatical German: ANGST ESSEN SEELE AUF "Fear Eat Soul". That is due to one of the two protagonists we meet: Ali (El Hedi ben Salem) is a Moroccan immigrant working in Munich. He toils as a car repairman and has learned some very basic German, but he has been hindered from assimilating to German and fully learning the language by both lack of time and a German society that deliberately keep his kind at arm's length. But one night at a pub, he meets by chance Emmi (Brigitte Mira) a 60-something widow. They dance and Emmi falls in love with this tall, dark, and handsome stranger who makes her feel feelings again after so many years. Ali's own thoughts and motivations remain more mysterious, but he too seems to have been wracked with loneliness, and he recognizes in this woman two decades his senior a soulmate. The result is initially a very idiosyncratic romantic comedy. Sadly, as an opening title of the film reads, "Happiness is not always happy". The flip side of this couple's burgeoning love is the suspicion, jealousy, fear, and hatred that Emmi and Ali encounter from the citizens around them. Emmi's neighbours gossip and disparage her for bringing "trash" into their block of flats; Emmi's adult children reject her new partner; and the local grocer refuses to serve Ali. The drama of the film is Emmi and Ali's attempts to weather this storm of social rejection and make their relationship work. Some small hope remains in a handful of Munich people who see nothing wrong with this couple. The acting here is memorable. El Hedi ben Salem was not a professional actor. In fact, he was one of Fassbinder's lovers, the two met in a bathhouse in Paris. Yet El Hedi ben Salem's awkwardness on screen actually fits his role perfectly, because Ali is ill at ease and unsure of what to do in this foreign land he has immigrated to. Most of the strong acting demands are placed on Brigitte Mira, a veteran of German film and television for decades, and she pulls this off marvelously. So much poignant emotion of a woman ruing the racism of her peers, or alive with love again after years of solitude, are expressed purely through her eyes, which Fassbinder often emphasizes with long camera takes. Fassbinder himself appears as Emmi's son-in-law (married to Emmi's daughter played by Irm Hermann, a stalwart of this director's productions), and though he gets little screen time, Fassbinder's facial expressions and sardonic dialogue are delightful. Yet, in spite of its curiously heartwarming romantic pairing and touching plot about two lovers against a cruel world, ANGST ESSEN SEELE AUF is not a perfect film. In the latter part of his film, Fassbinder seems uncertain of his point. In a bitter turn, he upends the romance we had become used to for a much more pessimistic view of human relationships where the original theme of racism and intolerance seems forgotten, or at least firmly pushed aside. He then ends the film at an arbitrary point, as if unable to come up with anything more conclusive. Nonetheless, this is a classic film and worth seeing. One can also appreciate just how well Fassbinder anticipated here the cinema of Aki Kaurismäki with its characters who are "losers", the cold stares of onlookers, and the awkwardness of it all.
Luka Banjanin is an unemployed young man living with his parents in Belgrade. He hangs out with few devoted friends who, like him, are yet to find place in a society that discarded young intellectuals. He plays saxophone and dreams about going to Oktoberfest, the annual beer festival in Munich, but he's being unable to get passport because of a smaller drug incident he had in the past. Totally careless about his long-term girlfriend, he suddenly falls for a mysterious woman who seems to appear in the same places as him, and then vanishes as quickly as possible. Believing that he's at the wrong place at the wrong time, Luka wanders from one misadventure to another, gradually losing the contact with reality and living out his own Oktoberfest in his mind.
Famed Canadian-American leftist documentary filmmaker Leonard Fife was one of sixty thousand draft evaders and deserters who fled to Canada to avoid serving in Vietnam. Now in his late seventies, Fife is dying of cancer in Montreal and has agreed to a final interview in which he is determined to bare all his secrets at last, to demythologize his mythologized life.
Various citizens of Toronto anxiously await the end of the world, which is occurring at the stroke of midnight on New Year's Day.
In 1916, a Chicago steel worker accidentally kills his supervisor and flees to the Texas panhandle with his girlfriend and little sister to work harvesting wheat in the fields of a stoic farmer.
Before her death, Emma reflects on her life; beginning with her childhood, up through her final years in Nauvoo.
In London for his daughter's wedding, a struggling jingle-writer, Harvey Shine, misses his plane to New York, and thus loses his job. While drowning his sorrows in the airport pub, Harvey meets Kate, a British government worker stuck in an endless cycle of work, phone calls from her mother, and blind dates. A connection forms between the unhappy pair, who soon find themselves falling in love.
Henry Hobson owns and tyrannically runs a successful Victorian boot maker’s shop in Salford, England. A stingy widower with a weakness for overindulging in the local Moonraker Public House, he exploits his three daughters as cheap labour. When he declares that there will be ‘no marriages’ to avoid the expense of marriage settlements at £500 each, his eldest daughter Maggie rebels.
Penny Addams lives in a constant state of depression stemming from the trauma of her father's death when she was just a young girl. Her brother, Chase, and stepmother, Lee, work to help Penny process her grief through psychotherapy and revisiting their past, but only the revelation of long-buried family secrets - including her mother's secret lover and the true nature of her father's death - can bring Penny out of her intense despair.
After 20 years of marriage, Maria decides to leave her husband. She moves into room 212 at the hotel across the street, with a bird’s-eye view of her apartment, her husband and the life she shared with him. While she wonders if she made the right decision, many of the people in her life offer their opinions on the matter. They intend to let her know, whether she likes it or not, on what proves to be a life-changing evening.
A group of French soldiers, including the patrician Captain de Boeldieu and the working-class Lieutenant Maréchal, grapple with their own class differences after being captured and held in a World War I German prison camp. When the men are transferred to a high-security fortress, they must concoct a plan to escape beneath the watchful eye of aristocratic German officer von Rauffenstein, who has formed an unexpected bond with de Boeldieu.