Wo ansehen Bulky Trash in Deutschland
In early summer 1989, Helke Misselwitz portrays young musicians in a band who produce their music on other people’s waste items. The four boys call themselves "Bulk Rubbish" and they drum out their resentment, having grown up on the new housing estates of East Berlin. A straight-up picture of the GDR youth is presented here, which in no way conforms to the official image. The film crew concentrates on the observation of the boy Enrico and his mother Erika: when the mother marries in the West, her son decides to stay in East Berlin, bidding her farewell at the border-crossing. Only shortly after, the tables are turned again: as the events in Berlin leading up to the fall of the Wall are practically captured live from the film crew, Enrico insists on maintaining his cultural identity, even after the fall of the Wall. The "Bulk Rubbish" musicians want to remain citizens of their own state and perceive the looming reunification with scepticism.
Miete Bulky Trash auf DocAlliance FilmsSehen Sie "Bulky Trash" jetzt auf DocAlliance Films und GuideDoc und entdecken Sie noch mehr Möglichkeiten, in Ihre Lieblings-film mit dem ultimativen Streaming-Guide von Popcorn Time einzutauchen.
Es gibt 1 weitere externe Anbieter. Sie können die vollständige Liste wo anschauen Bulky Trash einsehen.
Erkunde noch mehr Streaming-Optionen für Bulky Trash!
Entdecken Sie, wie Sie Bulky Trash auf verschiedenen Plattformen und in mehreren Ländern ansehen können! Egal, ob Sie zu Hause sind oder im Ausland reisen, es war noch nie einfacher, herauszufinden, wo Sie legal streamen können. Von , Bulky Trash ist auf führenden Diensten wie verfügbar. In 4 weiteren Ländern verfügbar, können Sie maßgeschneiderte Streaming-Optionen erkunden, die den lokalen Lizenzbestimmungen entsprechen und ein problemloses und legales Seherlebnis gewährleisten.
Mehr Infos
- Laufzeit
- 79 Minuten
- Veröffentlicht
- Ursprungsland
- Deutschland
- Sprachen
- en, de
- Untertitel
- en
Ähnlich wie Bulky Trash
Film
SIGNERS KOFFER is a kind of road movie across Europa. From the Swiss Alps to eastern Poland, from Stromboli to Iceland. Always following the scenery's magically charged contours. Immersing yourself, letting yourself be infected, then travelling on. Roman Signer determines the route that we are moving on and the film improvises along the way. Being on the road also means tracking down the right places. Signer brings them alive using his own personel instruments, brilliantly simple operations full of subtle humour. «Simple» poems being transmitted into space with INSTRUMENTS as gunpowder, fuse, rubber boots, balloons, stool, small table ... and a three wheelded Plaggio. SIGNERS KOFFER is also a journey through the state of mind. A tightrope walk between fun and melancholy. Danger also mental mental danger becomes the stimulus of the senses. Sudden crashes, abrupt chagnes of mood determine the rythm and atmosphere of this cinematic journey.
Signer's Suitcase (1995 )
Film
The film explores what transformations in power and politics do to art, how much opportunism can be found in “pure” art and whether fascist symbols can ever regain their aesthetic innocence. The questions it addresses about the relationship between ethics and aesthetics make a valuable contribution to any discussion about art and power.
Time of the Gods (1992 )
Film
Fluchtpunkt von Bilder der Welt ist das Gedankenbild vom blinden 'Fleck' der Auswerter von amerikanischen Flugaufnahmen, die sich 1944 nur für die industrielle Anlage der IG-Farben, nicht aber für das nahegelegene Konzentrationslager Auschwitz interessierten. Kommentar und Hinweise auf den Luftaufnahmen zeigen, daß erst Jahrzehnte später der CIA entdeckte, was die Alliierten 1944 nicht sehen wollten: daß neben dem industriellen Bombenziel IG-Farben-Werke das KZ Auschwitz abgebildet war.
Bilder der Welt und Inschrift des Krieges (1991 )
Film
Revolution and resignation within the changes at the end of the GDR.
In Transit: Report for Posterity (1990 )
Film
Despite seeing his film project HERCULES rejected by DEFA Studios in 1983-84, Dammbeck remained fascinated by the Hercules story. He started experimenting with different media combinations, using overpainting, photography, film clips, collage, painting, and movement. These experiments resulted in groundbreaking multimedia collaborations, as well as the film THE CAVE OF HERCULES, in which Dammbeck explores a series of questions inspired by this classical figure. Who was the legendary hero Hercules? Is there a new Hercules today? How are heroes created in a totalitarian society? What are the virtues of heroes? This multi-layered experimental film combines projections of collected film clips, quotations from “The Willful Child” by the Brothers Grimm, and “Hercules 2 or the Hydra” by Heiner Müller, as well as dance scenes with Eva Schmale that were performed – at Kampnagel in Hamburg – specifically for the film.
The Cave of Hercules (1990 )