Leni Riefenstahl

1936 Olimpiyat oyunlarının Berlin'de yapılması kararı alındıktan sonra, Almanya'daki Olimpiyat Komitesi oyunların perdeye aktarılacağı bir belgesel yapılması kararı alır. Yönetmen Leni Riefenstahl'ın yönetimindeki ekip, Olimpiyatlar süresince yarışmaları ve atletleri kameraya alır. Nazi yönetimi döneminde yapılan filmlerden biri olan belgesel, teknik alanda, özellikle de yakın çekim planlar anlamında önem atfedilen belgesellerden biri.

Winston Churchill understood the power of films, but the true extent of his use of cinema as a propaganda tool is rarely explored. In 1934, one of Britain's most celebrated film producers, Alexander Korda, signed Churchill up as a screenwriter and historical advisor. It was the start of a unique collaboration. Churchill provided script notes for Korda's productions and penned an epic screenplay. When war broke out, their collaboration took on national importance. Korda was sent on a mission to Hollywood to help bring America into the war, with positive results. With access to previously undiscovered documents, this film documentary examines that mission and a friendship that underpinned a unique, creative partnership.

Belgesel, Leni Riefenstahl'ın sanatsal mirasını ve Nazi rejimiyle olan karmaşık bağlarını araştırıyor. Film, Riefenstahl'ın kendini anlattığı hikayeyi, rejimin zulmünden haberdar olduğuna işaret eden kanıtlarla yan yana koyarak bir karşılaştırma sunuyor.

A fascinating chronology of 100 years of mountain film history in the Alps. This documentary focuses primarily on films shot on the Matterhorn, the Eiger, and the Grandes Jorasses, considered until the 1930s as the "last problems of the Alps," and shows the evolution of mountain filmmaking through numerous excerpts from documentaries and feature films – notably on the Matterhorn in 1901. The genre, appropriated as a means of mass exaltation by "fascist" regimes during the Second World War, was reinvented in the 1950s by Gaston Rebuffat, Marcel Ichac, and Lionel Terray in the Mont Blanc massif, avant-garde figures of French mountain cinema, who reintroduced, beyond performance, the values ​​of the mountains – and in color – poetry, humor, and sharing among people from all walks of life.

Dr. Johannes Krafft climbs a 12,000-foot mountain over and over again to search for his wife, who was lost on their honeymoon. Another couple makes the dangerous climb with him.

Hannes is employed at the Mont Blanc Observatory; the only outside connection is a pilot and Hella over the radio. Hella ascends the mountain but her father dies along the way.

In the mountains, Diotima meets Karl and fall in love and have an affair. Karl's friend Vigo mistakenly believes she's in love with him, causing rifts in all relationships.

Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.

Junta is hated by the people in the village where she lives, especially by the women, who suspect her of being a witch. Only she can climb the nearby mountains to a cave high up, whence a mysterious blue light glows when the moon is full. Many young men of the village have died trying to follow her. She is driven out of town, and takes to living in the mountains. Eventually she shares the secret of the blue light with one man, and he betrays it.

Edited from almost 100 km of film footage shot during the Games, this feature documentary is a breathtaking portrait of the 1976 Montreal Olympics. Much more than a simple record of the Games, the film approaches each event with the intention of revealing the athlete - whether winner or loser - as a unique individual.

A meditation on the first 100 years of German cinema, featuring an assembly of German filmmakers.

The perfect body as an object of cult worship. Based on the mass sports and body worship movement of the 1920s, the film propagates physical training and shows in stylized documentary scenes aspects of physical hygiene, gymnastics, sports and dancing as well as scenes in which supposed sportsmen of antiquity pose naked.

The film tells the cultural story of Berlin during the Weimar Republic through interviews with a number of persons who were involved in literature, film, art, and music during the period. It includes interviews with Christopher Isherwood, Louise Brooks, Lotte Eisner, Elisabeth Bergner, Francis Lederer, Carl Zuckmayer, Gregor Piatigorsky, Claudio Arrau, Rudolf Kolisch, Mischa Spoliansky, Herbert Bayer, Mrs. Walter Gropius, and Arthur Koestler.

Film journalist and critic Rüdiger Suchsland examines German cinema from 1933, when the Nazis came into power, until 1945, when the Third Reich collapsed. (A sequel to From Caligari to Hitler, 2015.)

The Nazi propaganda mastermind behind Hitler speaks in first person as actor Kenneth Branagh reads pages of the diary kept by the chief of propaganda, Joseph Goebbels, revealing the man's most inner thoughts.

An expedition goes in search of a party lost in the Arctic a year earlier. (The English-language version of S.O.S. Eisberg.)

An expedition goes in search of a party lost in the Arctic a year earlier.

In the three years leading up to the Olympics, the Nazi regime saw sport as an invaluable mobilisation and propaganda tool to motivate the "master race". Whether sympathisers or followers, German athletes went along with it; however, a number of them came to regret their decisions.

Countless people around the world know the pictures from Leni Riefenstahl's films, even if they have not seen them in their entirety. The work of the German director has burned itself into the collective memory. Even decades after the end of the Nazi era, she showed no remorse and presented herself as an apolitical, naive follower of the Nazi criminal regime. Her artistic service for the cinema was always recognized. But book author Nina Gladitz shows after decades of research that Hitler's favorite filmmaker was not only a follower, but also a perpetrator during the Third Reich, who instrumentalized other filmmakers such as the brilliant cinematographer Willy Zielke in order to gain fame for herself.

This documentary recounts the life and work of one of most famous, and yet reviled, German film directors in history, Leni Riefenstahl. The film recounts the rise of her career from a dancer, to a movie actor to the most important film director in Nazi Germany who directed such famous propaganda films as Triumph of the Will and Olympiad. The film also explores her later activities after Nazi Germany's defeat in 1945 and her disgrace for being so associated with it which includes her amazingly active life over the age of 90.

A 30-minute weekly cultural magazine program. The head of aspekte, Wolgang Herles, describes the program as follows: "For 40 years, "aspekte" has repeatedly set out to enrich television with cultural contrasts. "aspekte" understands culture not as the sum of facts and events, but as the taste, the sound, the rhythms of the times. It has proven itself as a journal of true luxury and fashions as well as an instrument of public education and information."

A weekly sit-down with Hermann Schreiber and Peter W. Jansen with a figure of German cinema.