Simon Stockhausen

L'histoire étonnante de la musique électronique : son épopée depuis ses origines en Europe, aux mains des grands artistes de l'avant-garde classique d'après-guerre, jusqu'aux grandes villes post-industrielles des États-Unis, où ce genre de genres a envahi les magasins de musique, les clubs louches et, finalement, les grandes scènes.

A woman sits alone on a chair at a table in a room on one of the top floors of an asylum. Bright spot lights dot the night, sometimes shining on her window. She sharpens pencils and writes on a page in a copy book. The pencil point often breaks under her fingers' force. She places broken points outside the window on the sill. A satanic figure is somewhere nearby, animated but of straw or clay, not flesh. She finishes her writing, tears the paper from the pad, folds it, places it in an envelope, and slips it through a slot. Is she writing to her husband? "Sweetheart, come." Written by

A woman sits alone on a chair at a table in a room on one of the top floors of an asylum. Bright spot lights dot the night, sometimes shining on her window. She sharpens pencils and writes on a page in a copy book. The pencil point often breaks under her fingers' force. She places broken points outside the window on the sill. A satanic figure is somewhere nearby, animated but of straw or clay, not flesh. She finishes her writing, tears the paper from the pad, folds it, places it in an envelope, and slips it through a slot. Is she writing to her husband? "Sweetheart, come." Written by

An allegory of the Golem, a Jewish mythical creature personifying displacement and exile, this film tells the story of a woman (similar to the biblical Ruth) and her sisters, who are forced into exile after the death of their husbands. It is set in 1990s Paris, where the director was living in self-imposed exile following the ban on his 1982 documentary in Israel. The recurring theme of the film is migrations and unrooting, like the legendary Golem.

An allegory of the Golem, a Jewish mythical creature personifying displacement and exile, this film tells the story of a woman (similar to the biblical Ruth) and her sisters, who are forced into exile after the death of their husbands. It is set in 1990s Paris, where the director was living in self-imposed exile following the ban on his 1982 documentary in Israel. The recurring theme of the film is migrations and unrooting, like the legendary Golem.

Two interconnected stories in the 1930s, one set in Berlin, the other in Palestine: Mania Vilbouchevich Shohat (1880-1961), called Tania, a Russian Jew and revolutionary, goes from Minsk to Palestine to live on a collective. She promotes feminism and laments a shift in the men from self-defense to aggression. Her friend, Else Lasker-Schuler (1869 - 1945), expressionist poet and German Jew, is in Berlin, writing, caring for her son, watching Hitler's movement take power. She goes to Jerusalem and imagines a park for Arab and Jew. Her poems, voiced from within, capture her experience. The film meditates on the violence at the root of Israel's birth: of the Nazis and of the Zionists.

This is the story of a handful of people who had long quit believing in real existing socialism. They decided to do something about it. In a climate of continuous repression they were able to express artistic freedom in ways which no one would have deemed possible. Clandestine exhibitions, illegal rock-concerts and excessive partying was part of the programme. A clique around singer Jan Sputnik formed a punk-rock band called Democratic Consumption, as a way to earn money. They toured around Germany, performing shows and partied each day like it was their last.

This is the story of a handful of people who had long quit believing in real existing socialism. They decided to do something about it. In a climate of continuous repression they were able to express artistic freedom in ways which no one would have deemed possible. Clandestine exhibitions, illegal rock-concerts and excessive partying was part of the programme. A clique around singer Jan Sputnik formed a punk-rock band called Democratic Consumption, as a way to earn money. They toured around Germany, performing shows and partied each day like it was their last.

In this film, the itinerary of Flavius Josephus at the time of the destruction of the Temple of Jerusalem in AD 70 crosses that of Prime Minister Yitzhak Rabin, assassinated in 1995, and the memory of the Holocaust through images of Poland. Milim reflects Amos Gitai's views on the history of the Jewish people and Israeli society in the wake of Rabin's assassination.

Four young artists: Bodo (18) is a piano player, Rasmus (21) an actor, Jessica (21) a painter, Patrick (18) a rapper. The documentary gives us an insight into their every-day lives as well as their creative process.

Four young artists: Bodo (18) is a piano player, Rasmus (21) an actor, Jessica (21) a painter, Patrick (18) a rapper. The documentary gives us an insight into their every-day lives as well as their creative process.