German movie – Cake Maker Fri, 21 Jan 2022 17:39:00 +0000 en-US hourly 1 German movie – Cake Maker 32 32 Munich: Netflix WW2 Movie Holds the Mirror Until Today Fri, 21 Jan 2022 08:01:00 +0000

We all know how it happened.

Hence the fictional drama that unfolds simultaneously between two friends: the aforementioned Hugh Legat and his Oxford-era German pal Paul von Hartman (Jannis Niewöhner). The couple argued after school due to Paul’s infatuation with the then-burgeoning Nazi Party and Germany’s promises of glory. But six years later, Paul is disillusioned and part of a secret resistance within the German government that works against Hitler. Also due to a rather convenient plot, he came into possession of a document that proves Hitler’s intention to acquire more “living space” for the Germans through a war of conquest through the ‘Europe. So Paul arranges to share this document with Hugh and Chamberlain at the Munich Conference in a last hope of convincing Chamberlain to aid a German military coup in Berlin.

Of course, if Hugh or Paul are caught conspiring in a German town filled with spies and prying Nazi eyes, both could be executed, one as a spy and the other as a traitor.

Munich: the brink of war is directed by Christian Schwochow, who has worked extensively on television, notably on the series The crown. This makes sense because many of the compositions and the overall staging consist of hand-shaking close-ups with shallow depths of field. The handheld is meant to make quiet dates in beer gardens and dark German streets more clandestine and dangerous, but they’re perhaps more about the usually less-funded endeavors of many Netflix dramas lit up by an avid streaming service. of content.

It particularly hurts the way certain crucial plot points occur, such as when Paul and Hugh are filmed shouting in the lobby of a German hotel where the British delegation is staying – and which was reportedly crawling with Nazi eyes. , who couldn’t have spotted such forced melodrama any easier than if the pair had worn matching neon jumpsuits. In that sense, the more theatrical flourishes fall flat whenever the film attempts to be a full-fledged thriller.

Nonetheless, there’s a gnawing, unavoidable tension throughout the film that becomes almost unbearable as the screws tighten and Chamberlain places the fate of Europe firmly in the lion’s mouth. This is partly due to Irons’ expert-judged performance as British Prime Minister. Always a captivating on-screen presence when he wants to be (or given solid enough material), Irons inhabits Chamberlain’s weakness, yes, but also cultivates an apparent awareness of his doomed madness. He knows his efforts will fail but he will continue the charade anyway in the hope of peace. Is this correct for humans? I don’t really know, but it makes for a good desperate drama.

‘The Pilot’ uses a real Soviet plane to bring an untold story of World War II to the screen Wed, 19 Jan 2022 18:01:41 +0000

“The Pilot” is a Russian action thriller based on the true story of Aleksey Maresyev, a World War II pilot whose plane was shot down over the German-occupied Novgorod region. The film follows Maresyev as he tries to fight off cold, wild animals and Nazis as he tries to get home.

The film will be released on digital, Blu-ray and DVD on March 1, 2022, and we have a first look at the trailer.

While the film’s characters speak Russian (and likely German), the release will give viewers the choice of subtitles or an English-dubbed version.

Nikolai Komlev is the name of the character based on Maresyev, and he is played by Russian actor Pyotr Fyodorov. If you’re not a fan of Russian movies or TV, you’ve probably never heard of him, but Fyodorov is a well-known lead actor in his home country.

The film used a still-active Soviet Ilyushin Il-2 for the flight scenes. Of the 40,000 aircraft of this type built during the war, only two still exist. The plane we will see in the film was forced to land on an icy lake in the Murmansk region in November 1943. It sank and remained submerged until 2012, when it was recovered and returned to new.

Aircraft scholars will note that, although the film is set in 1941, the two-seat version of the aircraft seen in the film did not enter production until 1943. Considering that only two remain around the world, producers are kindly asking that we give them a pass.

Like the Oscar-winning film “The Revenant”, “The Pilot” was filmed in extreme weather conditions that replicate what real pilots endured during the war. There is a lot of snow and the wild animals you see on screen are real wolves and not special effects.

We don’t see many WWII movies about our Russian allies, but this one has a brave pilot who fights off wolves and Nazis to get home to his family. It looks like a winner.

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When is Inventing Anna coming out on Netflix? Mon, 17 Jan 2022 18:58:00 +0000

January 17, 2022, 6:58 PM | Updated: January 17, 2022, 7:06 PM

The upcoming series – starring Julia Garner – will tell the story of real-life con artist Anna Delvey, who has reinvented herself as an heiress.

Invent Anna is Netflix’s next series that’s got everyone talking.

fans of ozark will be no stranger to one of its star actors, Julia Garnier (Ruth) who is now ready to take on the role of a real socialite and a con Anna Delvey.

Executive produced by Shona Rhimes, who brought us the tastes of Scandal and Bridgerton, the drama series will now be entertaining, but it’s still based on a real person. So who is Anna Delvey and what can we expect from the next Netflix series about her?

Find out everything we know about Invent Anna including its release date, who’s in the cast, and what it will cover.

READ MORE – To Hot To Handle 3: Meet the Too Much To Handle 2022 contestants

When is Inventing Anna coming out?

Invent Anna will be released on Netflix on February 11, 2022.

Julia Garner stars as con artist Anna Delvey Inventing Anna

Julia Garner stars as con artist Anna Delvey Inventing Anna.

Picture: Netflix

Who is in the cast of Inventing Anna?

Julia Garner, who plays Anna Delvey, is joined by a star-studded cast that includes Anna Chlumsky like Vivian, Arian Moayed like Todd, Laverne Cox like Kacy Duke, Anders Holm like Jack, Katie Lowes like Rachel, Terry Kinney like barry, Jeff Perry like Lou, Anna Deavere Smith like Maud, Alexis Floyd like Neff, and more.

READ MORE: When did Too Hot To Handle Season 3 release?

How real is Inventing Anna?

Netflix teases in their description, “This entire story is completely true. Except for every part that is totally made up.” From there, it’s clear that the series will tell the story of socialite con artist Anna Delvey, who moved to New York and pretended to be an heiress, but will no doubt invent scenes and dialogue for our entertainment.

Who is Anna Delvey?

Anna Delvey was born Anna Sorokin on January 23, 1991 in Domodedovo, a working-class satellite town southeast of Moscow in Russia. The Russian-born German wife pretended to be a wealthy German heiress under her new name and used it to defraud banks, businessmen and women, and her wealthy friends and acquaintances.

What happened to Anna Delvey?

In 2019, Anna Delvey was found guilty of multiple counts of 2nd degree theft and theft of services. On May 9, 2019, she was sentenced to 4 to 12 years in state prison, fined $24,000, and fined $199,000. Sorokin was released from prison on February 11, 2021, and in March 2021 she was taken back into ICE (Immigration and Customs Enforcement) custody for overstaying her visa.

Where is Anna Delvey now?

According to ABC News, Anna Delvey or Sorokin is currently in prison in the United States and ICE is still considering her deportation.

READ MORE: Everything you need to know about Ozark Season 4

Stephen Marche’s Next Civil War; How Civil Wars Begin by Barbara F Walter – review | Political books Sun, 16 Jan 2022 08:23:00 +0000

ZMotivated by patriotic zeal, Americans believe that their country is an exception to all historical rules. The Land of the Free, however, is currently hurtling towards a predetermined, seemingly inevitable crack-up. Its governmental institutions are crippled and a constitution designed for an agrarian society in the 18th century stands in the way of reform; its citizens, outnumbered by the weapons they carry, divided into armed and antagonistic tribes. Under these conditions, the riot on Capitol Hill last January may have been a rehearsal for an impending civil war.

Looking at this hot Toronto mess, Canadian novelist and essayist Stephen Marche ominously predicts: “The United States is coming to an end. Such a statement could only be made by a stranger. For Americans, the idea of ​​civil war remains unthinkable, the words indescribable: during his inauguration, Biden vowed to end “this uncivil war”, which implied that the only missiles exchanged were verbal without danger. According to Marche, the impending war will be a continuation of the previous one between the Union and the Confederacy, which broke out in 1865 without closing the gap between races, regions and economic prospects. To these man-made inequities, Marche adds the intemperance of nature: New York is in danger of being flooded by the next hurricane, and California’s forests are already burning. In 1776, the founding fathers envisaged an egalitarian renewal of humanity. Today, the decline of the United States warns that the Anthropocene era could be doomed. Marche, doubting that the walls erected by Fortress America can keep out refugees, the poor and rising oceans, suspects this is “how a species goes extinct.”

Stephen Marche: “cannot resist the development of conflagration and collapse scenarios”.

The next civil war is fatalistic but somehow thrilled as Marche vividly imagines the “incredibly intense events” that lie ahead. He has done the required historical research and conducted interviews with officials and academic experts, but he cannot help but elaborate scenarios of conflagration and collapse which he offers as examples of the “fantasy genre”. future civil war”. One, told with bitter amusement, concerns an explosive row in a Western state where local protesters, infuriated by a cunning and cynical sheriff, are fighting with federal bureaucrats who shut down a dangerous bridge. Another, which resembles the plot of the disaster movie Two days later, follows an evacuee from flooded Brooklyn who pauses to reflect that a submerged highway looks “almost beautiful.” A third “thought experiment” follows a nerdy loner who guns down the US President at a Jamba Juice outlet, after which a commentator solemnly describes the motive of misfits like this as a “desire for transcendence”.

As Marche puts it, “the power of spectacle drives American politics,” and its “cultural scripts” turn terror into sinister entertainment. He is inspired by films such as Independence Day Where Olympus has fallen, which depict the apocalypse as an adventure tour; the difference is that this time no superheroes fly or ride to save the republic. Marche bestows “iconic status” on the 9/11 atrocities, but pokes fun at the agitators in his own bridge fable as “ridiculous fanatics” who appear to be dressed for Halloween or a rock festival: the dare-to- he do better? There is a tempting and exciting danger in this, for sooner or later such prophecies will come true in action. Marche may be enjoying his romantic nightmares a bit too much, maybe even a smirk of Canada’s security as the United States crumbles.

An equally excited anticipation of the ending briefly disrupts Barbara Walter’s study, How Civil Wars Start and How to Stop Them. Walter teaches political science in San Diego, and she writes with devoted academic sobriety comparing her disintegrating country to failed states in the Balkans and the Middle East. She studies charts, manipulates datasets and deploys nonsensical jargon, classifying the United States as an “anocracy” because it is halfway between democracy and autocracy. But her buzzy lecture comes to life when she, like Marche, begins to imagine what an American Civil War would look like. Projected to 2028, the result looks like a fashionable Hollywood pitch, with the synchronized explosion of dirty bombs in state legislatures, a botched presidential assassination attempt, independent militias patrolling the streets and, worse than all ! – attacks on big-box stores. Like Marche, Walter is aware that political warriors need to rely on a “mythic narrative,” and she notes that some of the Capitol’s insurgents carried Bibles: in the absence of a sacred text, the scrambled synopsis of a disaster film be enough? just as well? After these dramatic flurries, Walter calms down by suggesting ways to avoid conflict. Most of her proposals require constitutional change, which she must know will never happen or will come too late; she also recommends reintroducing the study of civics in American schools, as if these pious courses of community engagement could be an antidote to the Civil War.

Barbara F Walter: “Most of his proposals require constitutional change”.
Barbara F Walter: “Most of his proposals require constitutional change”. Photography: Debora Cartwright

Walter admits that after the last election, when Trump refused to concede defeat, she and her husband considered emigrating. They leafed through their flotilla of available passports – Swiss, German and Hungarian as well as American and Canadian – and decided to drive north to cross the border into British Columbia. In the end, they chose to stay in California, as Walter announces after ritually reciting the National Creed and thanking the United States for “the gift of pursuing our dreams.” Marche concludes his book with a more reserved homage to America’s perhaps naïve “faith in human nature” and the risky “openness to difference” of the constitution. He then explains why he is happy to live in Toronto: Canadians, he says, “talk placidly and exchange endless words” rather than boast, rant and insult each other like their neighbors to the south, and they have only the “cold snaps” of time to face incendiary social convulsions. In times like ours, being comfortably domiciled in a boring country is surely the best bet.

The Next Civil War: Dispatches from America’s Future by Stephen Marche is published by Simon & Schuster (£20). To support the Guardian and Observer order your copy at Delivery charges may apply

]]> Revisit the playful nuns comedy that won Sidney Poitier the Oscar Tue, 11 Jan 2022 00:23:55 +0000

Sidney Poitier and Lilia Skala in “Les Lys des champs”

“God is good. He sent me a great and strong man.”

So says Mother Maria (Lilia skala) in “Mous des champs” when Sidney PoitierHomer Smith first drives to the ailing Arizona farm that she runs with a group of East German sisters.

LOOK: “Field lilies”, free streaming on Tubi

The mild, almost sitcom-y culture shock that follows is not what you would expect from the film that won Poitier the Oscar for Best Actor, making him the first black man to win an Oscar.

But Poitier – who died aged 94 last week – was a nimble actor who could skillfully switch between drama and comedy. And both qualities are exhibited in “Lilies of the Field” from 1963.

The Oscar film by Sidney Poitier

Released eight years after Poitier’s landmark role as a rebellious high school student in “Blackboard Jungle” in 1955 and 34 years before he gave his last feature in “The Jackal” in 1997, “Lilies of the Field” is a curious product of its time.

Based on William Edmund Barrett’s 1962 novel, the film stars Poitier as a nomad jack-of-all-trades who ends up being forced to remain as a full-time handyman for impoverished nuns. It’s a premise that threatens to veer into “Get Out” territory at times, as the nuns continue to give Homer new jobs while withholding his salary. But Poitier and Skala play on the lighter side of the material as Homer and Mother Maria clash in a battle of iron wills.

LOOK: Sidney Poitier and Paul Newman in “Paris Blues”

When a local priest tells Homer that Mother Maria believes God sent him to her, Homer unmoved, “No, I don’t think he sent a black Baptist to a Catholic nun.”

Yet Homer quickly becomes attached to his devoted employers, especially during delightful “Sister Act” sequences where he leads good European nuns in a rousing evangelical arrangement of “Amen.” Homer also finds a personal cause when he learns that these German women and their Mexican-American neighbors are attending mass in the back of a car because there is no church nearby. They need a real chapel, and the aimless but talented Homer might be the perfect man to build it for them.

“Lilies of the Field” uses its comedic tone to dig into topics that would otherwise have been deemed too controversial for the general public in 1963. Race and religion are, of course, the more obvious social issues than “Lilies of the Field “explores, but he’s also interested in gender, politics, purpose and power.

When a white construction contractor calls Homer a “boy,” Homer calls him a “boy” right away. It’s a prelude to the even more repulsive cinematic moment Poitier would offer in 1967’s “In the Heat of the Night”, when his character slaps himself against a white man who slaps him first.

As in Poitier’s pioneering 1967 interracial romance “Guess Who’s Coming to Dinner”, however, there’s a tension that exists in “Lilies of the Field”. While the film pushes the boundaries in some ways, in others it offers a non-threatening take on unity for the general public.

Yet what stands out most is Poitier’s absolute ease on screen. He projects incredible charisma as a suave wanderer, master of himself but always fallible. While Homer is a natural leader, he’s also wary of being accountable to anything or anyone, a common thread that the film explores in a noticeably low-key way.

“Lilies of the Field” allows Poitier to play all the different sides of himself – funny, frustrated, sensitive, stubborn, charismatic, introspective and caring. Like many of Poitier’s best performers, Homer is a man who is perfectly at ease with himself. And that makes “Lilies of the Field” a compelling watch, even with all the nonsense.

You can stream this classic, for free, on Tubi.

Rated TV-PG. 94 minutes. Real: Ralph nelson. With: Sidney Poitier, Lilia skala, Stanley adams, Dan Frazer.

Other Sidney Poitier’s performances for free on Tubi

Parisian blues (1961): Sidney Poitier and Paul newman play two expatriate musicians who make a living in the City of Light, but consider giving up everything when they meet two American women (Diahann Carroll and Joanne woodward) who visit Paris on vacation. TV-PG. 98 minutes. Real: Martin ritt. Also presenting: Louis armstrong.

Duel at Diablo (1966): In his very first western, Sidney Poitier plays a horse trainer who teams up with a border scout (James garner) who seeks revenge for his wife – a Comanche woman who was murdered by a white man. Rated TV-PG. 103 minutes. Real: Ralph nelson. Also presenting: Bibi anderson, Bill Travers.

They call me Mr. Tibbs! (1970): Sidney Poitier returns as Detective Virgil Tibbs in this sequel to “In The Heat of the Night”. Now working as a San Francisco Police Lieutenant, Tibbs must investigate yet another mysterious murder. Classified R. 108 minutes. Real: Gordon douglas. Also presenting: Martin Landau, Barbara mcnair.

About Tubi: Tubi offers over 35,000 movies and TV series from over 250 content partners, including all major studios, in addition to the largest offering of free local and national news channels live streaming. The platform offers entertainment, news and sports fans an easy way to discover new content that is completely free.

Tubi is available on Android and iOS mobile devices, Amazon Echo Show, Google Nest Hub Max, Comcast Xfinity X1, Cox Contour and on OTT devices such as Amazon Fire TV, Vizio TV, Sony TV, Samsung TV, Roku, Apple TV , Chromecast, Android TV, PlayStation 5, Xbox Series X | S, and soon on Hisense televisions around the world. Consumers can also watch Tubi content on the web at

Tubi and this TV station are both owned by the FOX Corporation.

About the writer: Caroline Siede is a film and television critic in Chicago, where the cold never bothers her anyway. A member of the Chicago Film Critics Association, she lovingly dissects the romantic comedy genre one film at a time in her ongoing column When Romance Met Comedy at the AV Club. She also co-hosts the film’s podcast, Role Calling, and shares her thoughts on pop culture on Twitter (@carolinesiede).

]]> Movie review: “The 355” by Jessica Chastain Sat, 08 Jan 2022 13:00:12 +0000

Photo: Photo credit: Robert Viglasky / Universal Studios

No actor working today is haunted by the strong female character like Jessica Chastain is haunted by the strong female character. You know the type – a distant, hyper-competent exterior hiding a case of formative trauma, and no time for something as frivolous as romance unless it leads to betrayal or tragedy. To be a woman who works as an actress is to embark on a continuous and exhausting quest for heavily written material, or at least not plagued by lingering stereotypes. Chastain is not exempt from this struggle, but the more power she has over the roles she chooses, the more she is drawn to those who, in their attempt to counter sexist stereotypes, have created a whole host of new ones. The character she plays in the female spy drama The 355, a project she came up with and produced, is a die-hard CIA agent who shows up happily beating up a colleague at Langley Gymnasium when a new mission arrives. Mace is a loner whose life revolves around her work and whose only confidant is her partner and best friend Nick (Sebastian Stan), with whom she falls in bed just before their supposedly easy surgery. goes wrong and seems to leave him dead. .

I make this sound lower than it actually is. The 355 isn’t that a total disaster – how can that be, as her cast includes Lupita Nyong’o as Khadijah, a tech scholar who is formerly from MI6, and Penélope Cruz as Graciela, a psychologist working for the Colombian DNI? But its monotony is somehow worse than a big failure, as if its goals were only to prove that a group of the most famous women on Earth can come together to make such a mundane and boring action movie. only men. The 355 was directed by X-Men: Black Phoenixby Simon Kinberg, who wrote the screenplay with Smash creator Theresa Rebeck, and he’s really terrible with the fight sequences, which is a real problem in a movie that has a lot of it. The sets are cut into barely readable pieces for the purpose of disguising the stuntmen, the punches obviously seem drawn, it is often difficult to know where the characters are in relation to each other during chases, and in a way. or another, these globetrotting badasses are all made to look awkward when carrying a pistol.

Kinberg’s only other director credit is for the aimless X-Men: Black Phoenix, in which Chastain played the villainous Vuk. Its total lack of affinity for this kind of material testifies to the film’s contradictory objectives. Although they have assembled an ensemble of Fox Force Five international stars – Diane Kruger and Fan Bingbing complete the international ensemble as German BND member Marie and MSS agent Lin Mi Sheng – The 355 is not a stylized exercise reveling in the fabulous personality of its cast. Aside from a few nifty costumes on Nyong’o, there’s surprisingly little sensory pleasure, let alone the pleasure you would get from a Bond movie. The film aims to be something closer to Bourne, with its stolen motorcycle chase sequences and an entire middle streak set in Morocco, but it has none of the kinetic brilliance of Paul Greengrass or, failing that, of the choreography that has made David Leitch and Chad Stahelski’s more recent films so thrilling. The 355 is decidedly thrill-free, though its characters pursue a technological MacGuffin capable of crashing airplanes and bringing down computer systems, they weave their way through their respective pieces of backstory as if it were ‘a chore to stray.

Mace faces the loss of the only person in his life. Graciela worries about her husband and her children at home. Khadijah has a partner who really knows her old life on the pitch. Marie (Kruger) has problems with the father that she turned into itself like a traitor. And Lin Mi Sheng (Fan) is the kind of personalityless embodiment of Chinese power who sometimes appears in potential blockbusters now despite feeling like insulting everyone involved. The script includes vulgar phrases as if it were compulsory: “We can do it easily, or we can do it the hard way,” Mace tells a suspect before she and the other women interrogate and torture him. . “That’s the thing with partners – they get killed, or they kill you,” Marie intones during a lull in non-action. None of this is as painful as the coda, when the film delves into the girlbossery it previously mostly bypassed, with Mace telling an enemy that the identity of Agent 355, the spy who worked for George Washington during the American Revolution, remains unknown because “someone knew his name, they just didn’t want the world to know”. The 355 is, ultimately, a film about how women are underestimated in their role of using violence to support their respective states, and its climax is that Mace triumphantly sends someone to a black site. after beating him by drinking his alcohol straight away. She’s not like other girls, you know? Yaasss.

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]]> Fokus 2022 celebrates the best of German cinema: The Skinny Fri, 07 Jan 2022 12:27:47 +0000

What do a jet set actor, supernatural nightmares, and a cross-cultural history of love and loss have in common? These are all film subjects appearing in this year’s Fokus lineup, returning in person for the first time since 2020. Organized by the Goethe-Institut, this selection of German films showcases the best in storytelling and creation from the country. Talent.

The selection is a small slice of a film year with just seven films. The programming, however, reveals an ambitious global vision. A purely German lens would be myopic, as the Goethe-Institut admits. “The subjects [explored in the programme] are by no means suitable for Germany, but have global relevance, ”they said in a statement. The priorities of German foreign cultural policy include social coexistence and exclusion, migration and asylum, populism, anti-Semitism and racism – issues which are by no means exclusive to Germany today. .

While the global heart of Fokus 2022 is clear, this year’s selection encompasses two key themes: “Cultures of Equality” comprising intersecting identities, abuse and globalization; and “How News Comes into the World,” which examines the evolution of communication methods, social media, bots, fake news, artificial intelligence, and the prejudices – conscious and unconscious – that affect interaction and understanding humans with the world around them. The two themes are hot topics beyond Germany and the UK, and the Goethe-Institut hopes that such programming will result in a “lively and fruitful, mutually inspiring exchange”.

While the majority of these films were premiered at physical and digital festivals in 2021, bringing them together in a single program allows these two thematic strands to be expressed in an environment conducive to dialogue. This, the Institute stresses, is more important than ever after nearly two years of the COVID-19 pandemic.

“Society, and therefore our communication with each other, has inevitably changed,” they say. “From this point of view, it is natural that these themes appear more frequently in films in general and also in our personal choices of films. It is also important to provide a safe platform where the subjects can be projected but also for some movies, like The case you, explored in more detail in a question-and-answer session or discussion. “

The case you, directed by Alison Kuhn, is a documentary that brings the camera back to the entertainment industry’s legacy of sexual abuse. After a director shoots audition footage – including footage where actresses were assaulted in their quest for a role – in a documentary, Kuhn and other survivors rewrite the narrative, flipping the director’s camera abusive on itself in indignation, anger and a quest for recognition – if not justice.

The case you is one of three Fokus 2022 documentaries. Trans – I have life (directed by Doris Metz and Imogen Kimmel) follows Dr. Schaff, a world-renowned practitioner in gender-affirming surgery, as he helps patients in Munich and San Francisco’s world-class transgender surgery practices along with his work more secret to help patients in Russia. The Guardian (Martina Priessner) has a much narrower geographic focus and follows a Syrian Orthodox nun and the increasing assaults she faces in her isolated existence.

The four fiction films on the program are no less diverse in their subject matter and scope. The next door – written and directed by his star, Daniel Brühl – is a day in the life of an actor who is more successful with cinema audiences than at his local restaurant. that of Anne Zohra Berrached Co-pilot is a painful love story versus a shocking real-life tragedy, exploring a relationship built on – or despite – secrets. that of Michel Venus Sleep sees a girl venturing into her mother’s nightmares, only to discover a centuries-old demonic curse. Finally, the creative title Curveball – A true story. Sadly (Johannes Naber) explores the absurdity of Germany and the West’s quest for weapons of mass destruction in Iraq, and how far the rulers might go to justify their case.

Fokus 2022 is “not a talent scout,” says the Goethe-Institut. Enthusiasm and relevance of the content come first. The power of the stars is a happy accident: “When actor-personalities like Daniel Brühl present these film stories to interested cinema audiences […], then this is a fortuitous side effect. Pointing to The lives of others (2006) as a former German film that transcends a seemingly difficult subject to find international fame, Fokus hopes that its selection this year – and every year – will challenge, inspire and delight audiences who might not have not come across these films otherwise.

Fokus runs January 11-31, with screenings at the Filmhouse, Edinburgh; Contemporary Arts of Dundee; Glasgow Film Theater; Belmont Filmhouse, Aberdeen; Arts Shetland, Lerwick; Eden Court, Inverness; Ayr Film Society; and Goethe-Institut, Glasgow.

Full program at

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a beautifully done ode to the grim building of the American nation Wed, 05 Jan 2022 05:00:00 +0000

Paramount +

Faith Hill as Margaret Dutton in 1883.Credit:Emerson Miller / Paramount

Yellowstone co-creator Taylor Sheridan aims high – and most of all succeeds – in this sweeping revisionist western, which simultaneously celebrates the natural wonder of the American frontier, recreates it in extremely costly detail, and illustrates it as a place of torment and loss unspeakable. The tale will eventually encompass the calamitous 3,000-kilometer journey settlers made from east to west America in the 19th century, but after just 10 kilometers, deaths in the wagon train are rife thanks to smallpox and shootings. .

1883 is an origin story of the Dutton family. In Stan’s contemporary drama Yellowstone, Kevin Costner’s John Dutton is the sixth-generation patriarch of a vast Montana ranch, which he holds against his opponents as his bloody birthright. The Dutton who – perhaps – got the clan there is James (Tim McGraw), a Civil War veteran who will stop at nothing to give his family a better life. That Montana isn’t actually on the Oregon Trail, the route hundreds of thousands of people take to the west, is just one of the many twists and turns the plot sets up.

The storytelling, imbued with elemental dread from a Terrence Malick movie, is delivered by Elsa Dutton (Isabel May), 17, the eldest daughter of James and Margaret (Faith Hill, McGraw’s wife in real life) . “It smelled wild, wild,” she says from Texas, where their journey begins, and the teenager is mesmerized by the vast landscape and like all other travelers face deadly risk at every turn. Death is constant, cruel and unfair – the killers are sometimes killed, but justice has no role.

Sam Elliott as Shea Brennan, who leads a convoy of the Dutton family and vulnerable German immigrants.

Sam Elliott as Shea Brennan, who leads a convoy of the Dutton family and vulnerable German immigrants.Credit:Emerson Miller / Paramount +

Elsa’s opposite is aging Shea Brennan (Sam Elliott), who, after suffering personal loss, is paid to lead a convoy of vulnerable – so disturbing – German immigrants and the Duttons west alongside his deputy Thomas (LaMonica Garrett), a black cowboy. Elliott’s laconic line is ideal for dialogue that invokes anarchy and economic brutalism. If the Dutton philosophy in Yellowstone is uncompromising, so 1883 suggests that it was forged into a much worse reality.

You don’t need any knowledge of Yellowstone to start 1883, but the success of the first – America’s most popular scripted series – is reflected in the budget of the second. The streets of Forth Worth are teeming with hundreds of extras and magical snapshots per hour reveal the full train. It’s a beautifully produced ode – with cameos from superstars – to spooky nation building and the initial episodes are uncompromising and compelling. “I knew nothing about the horror that lurks in the shadow of freedom,” Elsa says, but Taylor Sheridan embraces them.

Peacekeeper ★★★
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Heroes in the ring, wrestling superstar John Cena is a wacky and comedic presence in Peacemaker.

Heroes in the ring, wrestling superstar John Cena is a wacky and comedic presence in Peacemaker.Credit:HBO / Binge

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US Intelligence Mistakes Helped Build Myth of Nazi Alpine Redoubt, Historian Says | World War II Mon, 03 Jan 2022 08:00:00 +0000

An American spy master inadvertently helped the Nazis develop one of the most effective disinformation campaigns of WWII by spreading rumors about Hitler’s plans for a Where Eagles Dare-style alpine redoubt, discovered a historian with access to classified American military archives.

The myth that the Nazis were amassing arms and crack units from 100,000 fanatic soldiers in the spring of 1945 for one last fight in the Austro-Bavarian Alps was without any foundation but had a strong hold on the imaginations of US military leaders and British. , who feared it would prolong the war for years.

Thomas Boghardt, a German historian at the US Army’s Military History Center in Washington DC, argues in a new book that the myth of a Nazi Alpine fortress was not a crucial factor behind the abandonment by US forces of the race in Berlin for a push to the south. but it was the one that American espionage helped make.

Nazi leaders learned of Allied fears of a final mountain-top fight in 1944, after SS intelligence intercepted a cable sent from the United States Embassy in Bern, Switzerland . As Boghardt shows in Covert Legions: US Army Intelligence in Germany 1944-1949, the message was most likely sent by Allen Dulles, later the CIA chief during the Bay of Pigs invasion fiasco but to the he was then the head of the Bern station for the Office of Strategic Services (OSS).

Allen Dulles, pictured in 1954, while serving as director of the CIA. Photograph: Associated Press

The British Secret Service had discovered that the special encryption used to secure Dulles’ communications had been compromised, but the American spy master continued to ignore their warnings, driving an enraged British agent to despair.

“[C]Would you like to point out to the idiot [Dulles] who knows his code was compromised if he used that code to report meetings with someone, the Germans have probably identified the people involved and are using them to jam [disinformation]», Entrusted the agent to his head of post. “He swallows easily.

As the British had feared, Goebbels’ propaganda ministry spent the following months constructing the myth of a German defense effort in Austria and Bavaria through disinformation and media reports, hoping that a military leadership American hijacked could be drawn into separate peace talks or even an alliance. against the Soviets.

“Dulles was a very capable officer in charge who excelled at working with human sources, but when it came to signals intelligence he was indeed very sloppy,” Boghardt told The Guardian.

As Covert Legions shows, Allied forces were extremely sensitive to disinformation campaigns in the later stages of the war, with Field Marshal Montgomery being arrested at one point as an impostor by US guards following a rumor according to him. which the Germans were considering impersonating the British commander.

After the war ended, the Nazis barricading themselves on top of snow-capped mountains became a staple of swashbuckling war films, such as 1968’s Where Eagles Dare, starring Richard Burton and Clint Eastwood.

However, while some Allied intelligence reports explicitly cited the Alpine Redoubt theory as an argument for an Allied push into southern Germany in 1945, Boghardt rejects the idea that it played a role. crucial in shaping the end of WWII and in preparing the ground for the Cold War. tensions with the Soviet Union, as Winston Churchill later asserted.

The United States’ decision not to support a British “pencil stroke” plan to Berlin was probably more due to the fact that the Red Army was already within 20 miles of the German capital while the Anglo-British forces. Americans were still 300 miles away, he said. said, and an agreement to divide the city had already been made.

“My impression is that the American command ultimately did not really believe in the myth of the Alpine redoubt, but perhaps kept it alive to persuade the British of their dominant strategy. “

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Climate Change: Disaster Film Director Roland Emmerich Says We Need More Blockbusters Tackling Environmental Problems | Ents & Arts News Sat, 01 Jan 2022 15:33:01 +0000

Legendary disaster filmmaker Roland Emmerich has said the world needs more blockbuster climate change movies to “wake people up” to the problems we face.

The German filmmaker, whose box office hits include Independence Day and The Day After Tomorrow, told Sky News that movie studios saying they are determined to be greener must stop ordering superhero movies that end up save the world.

“In the Marvel movies and the DC comedies, it’s all superheroes. It’s easy, you can kind of shift the blame to a superhero, and then that’s it.

Emmerich’s next film, Moonfall, is about the moon projected onto a collision course with Earth. Photo: Reiner Bajo

“Sometimes a big blockbuster is the right thing to wake people up … every time it’s an end-of-the-world scenario it’s life or death decisions, and I think that is. strengthens everything …

“I think everything is useful, you know, and you have to show people that it’s going to happen.”

Emmerich’s 2004 classic The Day After Tomorrow could have described an extreme scenario, in which a sudden global storm plunges the entire planet into a new Ice Age, but he says an artistic license is needed to get people thinking. people.

“It was like a very simple idea. There was a scientist who worked a lot in the arctic, a big storm… but the science was absolutely right.

“If that sort of happens over 10 years, you can’t really make a movie about it, can you? That’s the only way to make a movie.”

The filmmaker says he is not convinced by the commitments on climate change made by countries at the COP26 summit held in November.

“Politicians are doing nothing,” he said. “They have this huge thing in Scotland and nothing really happens, goals always get things done. Nobody does anything drastic because nobody can do something drastic – and it shows you how fundamentally all politics are in the hands of the oil and coal lobbyists. “

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The master of disaster films has chosen an even more extreme storyline for his next film, Moonfall, which will be released next year. In it, a NASA executive, an astronaut, and a conspiracy theorist travel to space to prevent the moon from crashing into Earth.

Things might not be that dark for us right now, but that doesn’t mean we should bury our heads in the sand, Emmerich says.

“There should be TV shows [on climate change], all kinds of things, but there isn’t. It’s wishful thinking because people really only want to see things like Game Of Thrones. Nobody wants to face reality, let’s put it that way. “

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