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With the defeat of the Nazis looming large, "Maria" (Hanna Schygulla) marries her sweet-heart "Hermann" (Klaus Löwitch) before he is promptly sent off to the front and she loses all trace of him. With her nation now in ruins, she has no way of surviving and so has to adapt by using her wits, guile and even her body to keep alive. Fortunately, she alights on an American soldier who enables her to keep her head above water but she spurns anything more permanent as, even when told of his death, she refuses to abandon hope that "Hermann" will return. The thrust of this story continues for many a year as she begins to hone her skills of successfully combining satisfaction for others as well as herself with an increasing improvement in her circumstances. Sooner or later, though, one of these men will prove less gullible and/or lovestruck and her secret might just bring her new life tumbling down before she manages to reunite with an husband whom she's not even sure is still alive! This is a great looking drama that takes us on quite an emotionally turbulent trip into the debris of a city and a culture that saw "Maria" - like so many other hausfrau, left without any means of support as the Allies took control and struggled to deal with their own significant logistic problems. Schygulla delivers powerfully as a woman who must think on her feet to put bread on the table and a roof (or at least part of one) over her head. She's not by nature ruthless but when needs must she realises that she can rely on nobody but herself. Fassbender cleverly uses the screenplay and the bombed-out city-scape to create characters that do illicit a degree of counterintuitive sympathy. In may ways, she is a victim but will she accept that status? Her society gradually becomes akin to the phoenix and the ashes, and her determination not to be left behind is emotively captured over the two hours we spend with her and some equally ill-equipped destitute German people gradually becoming just ein bischen optimistic. It doesn't address the post-war politics of directly, but there are a few more oblique comments to add a further elements of realism to this quite poignantly written drama that marries disaster, a little humour and a great deal of fortitude.
A 9th century woman of English extraction born in the German city of Ingelheim disguises herself as a man and rises through the Vatican ranks.
In 1942, Friedrich Weimer's boxing skills get him an appointment to a National Political Academy (NaPolA) – high schools that produce Nazi elite. Over his father's objections, Friedrich enrolls. During his year in seventh column,Friedrich encounters hazing, cruelty, death, and the Nazi code. His friendship with Albrecht, the ascetic son of the area's governor, is central to this education.
The movie tells the story of Franz, a Waffen-SS soldier who deserts, and Polina, a Belarusian woman whose village is razed and people massacred.
Enrico struggles with his dysfunctional family and cheating wife, and eventually makes plans to kill them all.
In the aftermath of World War II, a British colonel and his wife are assigned to live in Hamburg during the post-war reconstruction, but tensions arise with the German widower who lives with them.
1940, Kawamoto Akiko lives in Hiroshima with her father and mother, Genkichi and Shizuko, as well as her two younger brothers. Akiko loves playing her favourite piano. As the war situation worsens, she is busy helping out the war efforts. On the morning of August 6, 1945, she disobeys her father and heads into the centre of town for work. In Hiroshima 75 years later, her favourite piano remains, restored and playable following its survival of the atomic bombing
An eight-year-old boy is willing to do whatever it takes to end World War II so he can bring his father home. The story reveals the indescribable love a father has for his little boy and the love a son has for his father.
A poet falls in love with an art student, who gravitates to his bohemian lifestyle — and his love of heroin. Hooked as much on one another as they are on the drug, their relationship alternates between states of oblivion, self-destruction, and despair.
After her much older husband forces a move to a suburban retirement community, Pippa Lee engages in a period of reflection and finds herself heading toward a quiet nervous breakdown.
Grace Livingston is leading a happy life in her small town, with her mother and father, being courted by two men, the steady but predictable Tommy Tucker and the more ambitious, flashy, and worldly Dick Loring, who seems closer to Grace in his desire for travel and adventure.
