German Movies

An incarcerated ex-US Special Forces operative in Russia discovers his second shot at freedom was actually an elaborate ruse in this explosive action thriller starring Dolph Lundgren. Mike Riggins was rotting in a Russian prison when he is offered immediate release if he will rescue abducted American Ana. Though Mike makes quick work of his mission, he discovers that the kidnapping story was a lie when the government, the paramilitary, and the mafia all come gunning for him. Now, as his enemies close in from all sides, Mike attempts to uncover the truth about Ana and keep her out of harm's way. ~ Jason Buchanan, Rovi

Rainer Werner Fassbinder's adaptation of a late 19th-century novel by Theodor Fontane is an austere period piece that may be the least characteristic of the German director's films. The titular heroine, played by Fassbinder regular Hanna Schygulla, is a 17-year-old girl forced into a loveless marriage with an old count. Living as the aristocrat's trophy wife, Effi endures her provincial existence unhappily. Her circumstances lead to a brief affair with a young lieutenant that attracts the attention of the townspeople, but not her unsuspecting husband's. Years later, however, the count discovers the love letters between his wife and her lover. As dictated by convention, he challenges the lieutenant to a duel and throws his wife out of their home. The shamed Effi is forced to live by herself, shunned by society and spurned by her family. Effi eventually returns to her unsympathetic parents, who reluctantly take in their disgraced daughter. ~ Elbert Ventura, Rovi

This excellent adaptation by Michael Cacoyannis of the famous tragedy by Euripides garnered him his first international success and an award at the 1962 Cannes Film Festival. Irene Papas plays Electra, the daughter of King Agememnon and sister of Orestes, caught up in an uncontrollable need for revenge. After the king returns from the battlefield, Clytemestra (his wife) joins with her lover in murdering the hapless ruler while he bathes. Orestes is sent away immediately, and Electra is left to simmer in her growing hatred of her mother until one day, she and Orestes manage to get together and hatch a scheme to avenge Agememnon's death. ~ Eleanor Mannikka, Rovi

Even viewers who've seen Freaks won't be completely prepared for Werner Herzog's bizarre Even Dwarfs Started Small. The film is set in a dismal mental institution, wherein dwell several midgets, dwarfs and other "oddities." Sick of being tormented and exploited by the so-called normal people of the world, the inmates stage a coup, taking over the asylum and utterly reversing the status quo (Herzog's apparent attempt to draw parallels between the events on screen and such real-life upheavals as Vietnam). As in his other films, the director imbues his misshapen characters with a sort of regal grandeur, as if to purge the German wartime atrocities against "underdesirables." Herzog also produced, wrote and provided the musical arrangements for Even Dwarfs Started Small, which was initially released in Germany in 1970 (two years after its completion) as Auch Zwerge haben klein angefagen. ~ Hal Erickson, Rovi

A hardened seaman and a dogged reporter become trapped on an island with a mysterious scientist, a ruthless band of mercenaries, and a vicious pack of unidentifiable creatures in BloodRayne director Uwe Boll's seventh video game-to-screen adaptation. A team of mercenaries has been attacked on a remote island in the Pacific Northwest, and as mysterious reports begin to emerge from the chaos, a veteran Seattle newspaper editor sends top reporters Tom Moore and Valerie Constantine to the scene in hopes of getting the scoop on the story. Shortly after arriving on the island under the guidance of ship captain Jack Carver (Til Schweiger), the trio is attacked by mercenary commander Maria Sanchez. Though Tom is killed, Valerie and Jack manage to stage a daring escape and quickly begin to bicker over their plan as Maria's murderous soldiers fast begin gaining ground. Despite Captain Jack's plan to locate his friend Emilio and get off of the island as quickly as possible, reporter Valerie remains determined to investigate the strange situation and get as many details as possible for her upcoming story. Later, when Jack, Valerie, and Emilio are captured and taken to the secret lab of genius scientist Dr. Krieger, Valerie is extended an invitation to join the doctor in announcing his latest findings to the world. Though it finally seems as if Valerie has gotten just the scoop needed to make her story, the situation quickly turns chaotic when one of Dr. Kreiger's creatures escapes from the lab and sets out on a murderous rampage. ~ Jason Buchanan, Rovi

The term which has become this film's title, Fata Morgana, refers to mirages, and is an apt title for this storyless, hallucinatory work shot in the deserts of North Africa. It is a rhythmic, musical succession of images and short scenes. One of the images is a pianist and drummer who play tiredly, surrounded by endless tracts of desert. This is an image that has been adapted and re-used in countless music videos and is a small piece of evidence suggesting that this is a very influential film. The narration, in English, comes from a Guatemalan creation myth, and the accompanying music ranges from Couperin to Cash, with significant contributions by Leonard Cohen. Fata Morgana is one of the early features by the renowned director Werner Herzog, better known for Aguirre, Wrath of God and Fitzcarraldo. As is the case for many of Herzog's films, he paid a high price in physical pain to shoot this one; he was arrested and tortured by an African government in the mistaken belief that he was a mercenary soldier. ~ Clarke Fountain, Rovi

The action film Final Contract: Death on Delivery stars Drew Fuller as David, a young man who is broken up over the fact that his girlfriend is moving away. He eventually meets up with a sexy woman who embroils him in an adventure that may cost him his life. ~ Perry Seibert, Rovi

An embittered, 80-year-old piano teacher working in a women's prison takes on the most challenging student in her enduring career in director Chris Kraus' low-key musical drama. For years, Miss Krueger (Monica Bleibtreu) has been teaching classical piano to some of the most hardened female prisoners in all of Germany, but upon meeting brooding new inmate Jenny (Hannah Herzsprung), Miss Krueger finally seems to have found the one student she can't break through to -- until she hears Jenny play, that is. A former piano prodigy whose abusive childhood prompted her to neglect her natural gift for music in the name of survival, Jenny is a violent offender whose notorious temper has, as an adult, repeatedly landed her behind bars. Though she does still display considerable talent on the ivory, her decidedly antisocial behavior compelled the troubled prisoner to repeatedly sabotage opportunities to take part in recitals that would, at the very least, provide a momentary respite from her grim day-to-day existence. ~ Jason Buchanan, Rovi

Acclaimed German New Wave director Alexander Kluge helmed this groundbreaking feminist drama starring his sister Alexandra, which later became the filmmaker's best-known work. She plays Rosewitha Bronski, a mother and housewife-cum-factory worker, who moonlights as an abortionist. Her world is a veritable maelstrom of chaos, marked by screaming children; an obnoxious, demanding, ne'er-do-well husband; and tumult at a factory caught up in the throes of corporate relocation. Meanwhile, at the abortion clinic, doctors have begun refusing to pay referral fees, which puts Rosewitha in an extraordinarily challenging position. Kluge's innovation relies in handling this emotionally-charged material in a cool, detached and matter-of-fact style that interpolates extensive voiceover to critique and reflect on the central character's life-choices and attitudes. ~ Nathan Southern, Rovi

Rolf Schuebel makes his directorial debut with this subtly-told true story about one the 1930s' most memorable melodies. Set just prior to WWII, the film focuses on Hungarian beauty Ilona (Erika Marozsan) and her significant other Laszlo Szabo (Joachim Krol), a dapper owner of Budapest's finest restaurant. Though Ilona is known for her prowess on the piano, the two decide to hire a professional as the finishing touch on their classy establishment. They hire Andras (Stefano Dionisi), a taciturn man with a certain mysterious charm. Meanwhile, regular customer and German businessman Hans (Ben Becker) finds himself utterly and completely smitten with the vivacious Ilona. When she spurns his advances, he drunkenly jumps into the Danube. Laszlo manages to rescue him and the three grow to become close friends. At the same time, Andras and Ilona grow to be something more than friends, and -- with the knowledge and approval of Laszlo -- they become lovers. Later, Andras composes a tune dedicated to his new consort and Laszlo quietly arranges for a couple of Austrian record execs to come to the restaurant to listen. Oozing with jaded ennui, the song, sans lyrics, quickly becomes an international success, yet it also seems to cast a dark spell over listeners -- people cannot help but commit suicide. In Hungary alone, 157 people killed themselves in the span of eight weeks. At the same time, the Third Reich marches into Austria. As the film progresses, Hans returns to Budapest, this time as an SS officer. There he offers Laszlo, who is Jewish, and who offers him free passage in exchange for money. This film was screened at the 2000 Berlin Film Festival. ~ Jonathan Crow, Rovi

In this satiric road movie from Cuba, Yoyita (Conchita Brando), a well-known singer living in Havana, travels with her niece Georgina (Mirta Ibarra), a college professor, to the village of her birth, where Yoyita is reunited with Candido (Raul Eguren), whom she loved as a young woman. When Yoyita and Candido meet for the first time in 50 years, they're thrilled to discover that the flame of passion still burns within them; unfortunately, Yoyita is so thrilled that it gives her a heart attack, and she dies on the spot. Yoyita's body must be transported back to Havana for burial, but while logic would dictate that Georgina should simply hire a hearse to make the journey, her husband, Adolfo (Carlos Cruz), a bureaucrat with more enthusiasm than common sense, has another idea -- by transferring the body from one vehicle to another at the border of each province, the cost of fuel will be distributed more evenly along the route. No one much cares for this idea except Adolfo, but he has the law on his side, so Georgina, Candido, and Adolfo begin a long, slow journey back to Havana accompanied by truck drivers Ramon (Pedro Fernandez) and Mariano (Jorge Perugorria), who was Georgina's student years ago. At every stop, the group meets a few of the people in each town (especially Mariano, who seems to have a girlfriend in every village in Cuba) and they share their thoughts on faith, politics, and love. Guantanamera was the final work from veteran Cuban director Tomás Gutiérrez Alea; he died before the film could be completed, so co-screenwriter Juan Carlos Tabió finished the film in his stead. ~ Mark Deming, Rovi