A powerful, almost surreal distillation of a story by Heinrich Böll, Straub-Huillet's debut work concerns a former Nazi colonel who takes advantage of his political and sexual status in post-war Germany.
Rainer Werner Fassbinder stars alongside his future collaborators — Hanna Scyhgulla, Irm Hermann, and Peer Raben — in this short, radical condensation of Ferdinand Bruckner’s 1926 play Pains of Youth that incorporates the screeds of Mao and May '68 protesters.
Originally released on a double bill with Eric Rohmer’s Pauline at the Beach, a short about a precocious, determined nine-year-old boy, and a story concerning a rejection of all forms of authority, whether family, school, or nation.
At the end of filming Umiliati, Straub and Huillet gave thanks to the cast and crew in a graceful way: by inviting Dolando Bernardini to sing several stanzas from Torquato Tasso’s 16th-century epic poem Jerusalem Delivered.
In various guises and melodic fashion, Cornelia Geiser recites verses from Pierre Corneille’s Horace and Othon, and extended excerpts from Bertolt Brecht’s The Trial of Lucullus, in which the Roman General is summoned to the underworld to stand trial for the sufferings he inflicted on commoners and slaves
In darkness, we hear a recording of the scandalous 1954 debut performance of Edgar Varèse’s revolutionary Déserts at the Théâtre des Champs-Élysées. Then, in a different sort of Elysian Field, we hear a recitation of Canto XXXIII from The Inferno.
Returning from the forest of shades, a quietly defiant Orpheus tells a Bacchante it was free will, not destiny, which compelled him to cast the fatal gaze on his wife Eurydice, recognizing their love as a thing of the past and his own place in the world of living souls.
Another film based on Straub’s memories of growing up in Metz and a work by Maurice Barrès, in which a young country doctor, the son of a French Alsatian bourgeois, is forced to choose between “the French soul and the German deed."
In the sun-dappled Tuscan countryside, the boar hunter Meleager, having been murdered by his own mother to avenge the tragic accidental killing of his brother, engages in conversation about fragility, resistance, and love, with Hermes, who has taken female form.
Straub’s abridged retelling of Kafka's story, which has been interpreted in myriad ways and embraced and rejected in equal measure by Arabs and Jews of divergent persuasions, bears fascinating affinities with his and Huillet’s interpretation of the author's Amerika in Class Relations.
Straub’s testament of love was made seven years after the 2006 death of his partner and collaborator Danièle Huillet, and nearly 60 years after they met in Paris and planned to adapt this short story by Georges Bernanos, author of Diary of a Country Priest and Mouchette.
As a young man, Straub fled to West Germany after refusing to fight for France in the Algerian War. Later in his life, he returned to this bitter historical experience with this terse noir about “the instinct to heal” and to murder.
A film about ghosts and madness that is itself a kind of ghost, this short from master Bertrand Bonello (Nocturama, Saint Laurent) tells the story of Sarah Winchester, heiress to the Winchester rifle fortune who was driven to insanity by unseen forces.
The newest work to emerge from Harvard’s groundbreaking Sensory Ethnography Lab, Joana Pimenta’s An Aviation Field is a mesmerizing short film, a ghost story about buried cities, lost civilizations and Western colonialism.
Drawing upon the rich mythology of Ghana, this magical short film combines semi-autobiographical elements with local folklore to tell the story of a young American woman who returns to West Africa for her father’s funeral, only to discover his hidden double identity.
A remarkable record of black life in the 1940s, as found in the films of Spencer Williams, the pioneering African American filmmaker. A new essay by Thom Andersen, director of Los Angeles Plays Itself.
From the director of Ai Weiwei: Never Sorry, the remarkable story of Cuban-American artist Carmen Herrera, a pioneering abstract painter in the '40s and '50s who only found recognition as she approached her 100th birthday.