Berlin, die Symphonie der Großstadt

The lives of Stan Laurel (1890-1965) and Oliver Hardy (1892-1957), on the screen and behind the curtain. The joy and the sadness, the success and the failure. The story of one of the best comic duos of all time: a lesson on how to make people laugh.

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.

Julia is a young transgender woman who left her home country of Lithuania. Now living in Germany, she walks the streets of Berlin, working as a prostitute to survive. This documentary revisits Julia over a ten-year period of her life.

Wallace Carlson walks viewers through the production of an animated short at Bray Studios.

A silent succession of black-and-white photographs of the city of Montreal.

Two street artists with contrasting intentions about the artform tell the relevance of street art in society while accompanied by an enigmatic graffiti writing, “Bon Jovi.”

The original Tresor was in many ways the quintessential Berlin club: located in an unrenovated vault beneath a bombed out department store, it opened its doors amidst the general confusion and ecstasy that swept across the city when the wall fell. Its low ceilings, industrial decor and generally unhinged atmosphere created an unprecedented platform not only for techno in Berlin, but also for the scene taking shape across the Atlantic in Detroit.

Hans Schilling, who emigrated to Chile shortly before World War 1, comes from Valparaiso to visit his old hometown of Stuttgart after an absence of almost 22 years. His brother Georg Schilling, who stayed in Stuttgart, picks him up at the train station. He proudly shows the homecomer the prospering, Swabian metropolis, followed by impressions of the city's architecture, economy and culture.