Mikhail Zhvanetsky

A satirical film for adults about communication problems.

Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).

This family story contains a private reading of ten years in the history of Spain, from the birth of two brothers of the author until the death of the Spanish dictator in 1975.

Efil Cisó, young heir to the prestigious family of Bouclette’s barbers decides that he doesn’t want to continue with the family tradition and wants to pursue his dream of being a baker.

She is a very organized woman. She wrote everything down on excel sheets. Absolutely everything.

Humanity no longer exists, only Fluor and Carlix, two ghosts in sportswear, remain. They wander among the remains of an extinct civilization, one in search of a Wi-Fi connection, the other in search of the head of a giant cetacean. A story of encounter and friendship, punctuated by an ultimate playlist : that of the end of the world.

Dimos Avdeliodis pays homage to Charles Chaplin and all his favorite silent heroes. This is the first film he directed.

Two men sit on an island watching the sunset. When a storm gathers, they decide to build a boat. While one man is mindful of the coming danger and urges speed, the other wastes his time on decorative details. Dammbeck’s last film made in the GDR before he left for West Germany is based on a Chinese fable, with music by internationally known jazz musician Günter “Baby” Sommer.

For the multimedia exhibition Tangenten I (Tangents I), Dammbeck and co-organizer, sculptor and painter Frieder Heinze had planned to collaborate on a film that would combine non-camera animation with 35mm footage of a train ride between the two Dresden districts of Radebeul and Pieschen. When the exhibition was banned in 1978, Heinze turned to other projects, but Dammbeck continued working on the film by himself. Metamorphoses I—the first experimental film ever to be shown publicly in East Germany—marks the filmic beginning of Dammbeck’s long-term art project the Herakles-Konzept (Hercules Concept).