German cinema boasts a rich and varied history spanning over a century. From its inception, German directors have displayed a remarkable capacity for innovation and experimentation, producing some of the most influential and memorable films in cinematic history.
The Golden Age of German Cinema
The most prolific period of German cinema is widely considered to be the “Golden Age,” lasting from 1919 to 1933. During this era, Germany was a leading global center of film production, thanks to visionary directors like Fritz Lang, Robert Wiene, Georg Wilhelm Pabst, and F.W. Murnau.
The films of these directors were characterized by a strong Expressionist element, evident in their groundbreaking use of cinematography, set design, and acting techniques. Films such as “Metropolis” (1927), “The Cabinet of Dr. Caligari” (1920), and “Nosferatu” (1922) are considered classics of world cinema and have profoundly influenced the development of modern filmmaking.
German Expressionist Films
German Expressionist films were defined by their dark and unsettling atmospheres, often exploring themes of madness, fear, and violence. Expressionist directors frequently employed techniques such as contrasting light and shadow (chiaroscuro), distorted perspectives, and exaggerated character designs to create an atmosphere of anxiety and unease.
German Cinema After World War II
Following World War II, German cinema experienced a period of decline, due to the devastation of the war and the division of Germany into two separate states. However, in the 1960s, German cinema began to re-emerge, spearheaded by a new cinematic movement known as “New German Cinema.”
The New German Cinema Directors
The directors of the New German Cinema, including Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders, drew inspiration from American and French cinema but forged their own distinct and original styles. Their films, often characterized by strong social and political commentary, were highly influential and helped to revitalize the international image of German cinema.
The films of the New German Cinema explored a wide range of subjects, including politics, social class, family dynamics, and the human condition. These directors were particularly interested in portraying the lives of ordinary people, often employing a simple and direct cinematic language.
Films of the German New Wave
Films of the New German Cinema explored a broad spectrum of themes, including politics, class structures, family relationships, and the complexities of the human condition. New German Cinema filmmakers were particularly focused on depicting the stories of everyday people, often utilizing a straightforward and unadorned cinematic style.
Contemporary German Cinema
In recent decades, German cinema has continued to produce high-quality films that have garnered numerous international awards. Some of the most prominent contemporary German directors include Michael Haneke, Werner Herzog (still active), Fatih Akin, Christian Petzold, and Florian Henckel von Donnersmarck.
German Cinema Today
German cinema today remains one of the most vibrant and compelling in the world. German films frequently win awards at international film festivals and are increasingly appreciated by audiences globally. German cinema continues to experiment and innovate, offering a unique perspective on the world and the human experience. If you are interested in quality cinema, we encourage you to explore German films.
Essential German Films
German cinema offers a diverse range of films, from arthouse masterpieces to commercially successful productions. Below is a list of some of the best German films in the history of cinema, selected based on their influence, artistic merit, and cultural significance.
The Cabinet of Dr. Caligari (1920)
Introduction:
“The Cabinet of Dr. Caligari” is a 1920 German silent horror film directed by Robert Wiene and written by Hans Janowitz and Carl Mayer. It is considered one of the most important films of the German Expressionist movement and is widely regarded as a landmark work of cinema.
Plot Summary:
Set in a small German town, “The Cabinet of Dr. Caligari” tells the story of a mysterious hypnotist named Dr. Caligari who uses his somnambulist assistant, Cesare, to commit murders. The film is narrated by a young man named Francis, who is initially skeptical of Caligari’s claims but soon becomes convinced that the doctor is responsible for a series of killings.
Reception:
“The Cabinet of Dr. Caligari” was a critical and commercial success upon its release. It was praised for its innovative visual style and suspenseful plot. The film has been credited with influencing countless other horror films and remains a popular and influential work of cinema today.
The Golem: How He Came Into the World (1920)
Introduction:
“The Golem: How He Came Into the World” (German: Der Golem, wie er in die Welt kam) is a 1920 German silent horror film co-directed by Paul Wegener and Carl Boese, and written by Wegener and Henrik Galeen. It’s the third and most famous of Wegener’s Golem films, serving as a prequel. The film is based on the Jewish legend of the Golem, a creature made of clay brought to life by a rabbi.
Plot Summary:
Set in 16th-century Prague, “The Golem” tells the story of Rabbi Loew, who creates a Golem to protect the Jewish community from persecution by the Holy Roman Emperor. However, the Golem, while initially protective, becomes increasingly difficult to control and poses a threat to everyone.
Reception:
“The Golem: How He Came Into the World” was a critical and commercial success. It was praised for its impressive special effects (for the time), its atmospheric sets, and its exploration of themes of creation, responsibility, and the dangers of unchecked power. It remains a key film of the silent era and a significant influence on monster movies.
From Morn to Midnight (1920)
Introduction: “From Morn to Midnight” (Von morgens bis mitternachts) is a 1920 German silent expressionist film directed by Karlheinz Martin, based on the 1912 play of the same name by Georg Kaiser. It is considered one of the purest examples of German Expressionist filmmaking.
Plot Summary: “From Morn to Midnight” follows a Cashier in a small-town bank who embezzles a large sum of money after being tempted by a wealthy, beautiful woman. He then embarks on a frantic day-long journey, seeking pleasure and excitement, but finds only disillusionment and despair. His attempts to find meaning in wealth, lust, and even religion prove futile.
Reception: While not a major commercial success upon its initial release, “From Morn to Midnight” is now recognized as a landmark of German Expressionism. Its highly stylized sets, distorted angles, and stark lighting create a nightmarish atmosphere that reflects the protagonist’s inner turmoil. The film was thought lost for many years until a print was discovered in Japan in the 1960s.
Destiny (1921)
Introduction: “Destiny” (German: Der müde Tod, meaning “The Weary Death”) is a 1921 German silent fantasy film directed by Fritz Lang, who co-wrote the screenplay with Thea von Harbou.
Plot:
A young woman confronts Death, who she believes has taken her lover. He takes her to a large, mysterious room with many candles, each representing a human life. Death offers her a deal: if she can save one of three lives he shows her through tales taking place in the Middle East, Venice, and China, he will return her lover to her. Reception: Destiny’s fantasy nature was a departure from the Expressionist films of the time. It contains special effects that are still impressive today. Douglas Fairbanks was so impressed by the film, he acquired the US rights in order to make similar effects in his 1924 film The Thief of Baghdad.
Nosferatu (1922)
Introduction:
“Nosferatu: A Symphony of Horror” (German: Nosferatu, eine Symphonie des Grauens) is a 1922 unauthorized and unofficial adaptation of Bram Stoker’s 1897 novel Dracula. Directed by F. W. Murnau and starring Max Schreck as the vampire Count Orlok, the film is a cornerstone of German Expressionism and horror cinema.
Plot Summary:
Thomas Hutter is sent to Transylvania to finalize a real estate transaction with Count Orlok. Hutter soon discovers that Orlok is a vampire, and the Count travels to Hutter’s hometown of Wisborg, bringing plague and death with him. Hutter’s wife, Ellen, learns that only a woman pure of heart can defeat the vampire.
Reception:
Stoker’s heirs sued over the adaptation, and a court ruling ordered all copies of the film to be destroyed. However, several prints survived, and Nosferatu is now regarded as an influential masterpiece of cinema. Its eerie visuals, particularly Schreck’s performance as Orlok, have cemented its place in horror film history.
Dr. Mabuse, the Gambler (1922)
Introduction:
“Dr. Mabuse, the Gambler” (Dr. Mabuse, der Spieler) is a 1922 German silent crime film directed by Fritz Lang, who co-wrote the screenplay with his wife, Thea von Harbou. It is the first film in the Dr. Mabuse series and established many of the tropes of the crime thriller genre.
Plot Summary:
Dr. Mabuse is a criminal mastermind who uses his skills in disguise, hypnosis, and telepathy to manipulate the stock market, cheat at cards, and control the Berlin underworld. He is pursued by the determined State Prosecutor von Wenk, who attempts to bring Mabuse’s reign of terror to an end. The film is divided into two parts: The Great Gambler: An Image of the Times and Inferno: A Play about People of our Time.
Reception:
“Dr. Mabuse, the Gambler” was a critical and commercial success. Its innovative visual style, complex plot, and thrilling suspense sequences made it a landmark film. It established Fritz Lang as a major director and influenced numerous crime and thriller films that followed. The film’s depiction of a powerful, almost supernatural criminal prefigures many supervillain characters in later media.
The Last Laugh (1924)
Introduction:
“The Last Laugh” (German: Der letzte Mann, meaning “The Last Man”) is a 1924 German silent film directed by F. W. Murnau and written by Carl Mayer. It is a prime example of the Kammerspielfilm, or “chamber drama,” a style of German filmmaking characterized by its intimate settings and focus on psychological realism.
Plot Summary:
The film tells the story of an aging doorman at a prestigious hotel who takes immense pride in his uniform and position. When he is demoted to the position of lavatory attendant due to his age, he is devastated, losing his social standing and his sense of self-worth. The film explores his descent into despair and the small kindness that ultimately offers him a glimmer of hope.
Reception:
“The Last Laugh” is celebrated for its innovative camera techniques, particularly its use of the “unchained camera,” which allowed for fluid, subjective movement that conveyed the doorman’s emotional state. The film is also notable for its almost complete lack of intertitles, relying instead on visuals and Emil Jannings’s powerful performance to tell the story. It is considered a masterpiece of silent cinema.
Michael (1924)
Introduction: “Michael” is a 1924 German silent drama directed by Carl Theodor Dreyer, based on Herman Bang’s 1902 novel Mikaël. It is considered an important early film in the exploration of homosexual themes.
Plot Summary: The film centers on the relationship between a famous painter, Claude Zoret, and his young model and protégé, Michael. Zoret is deeply attached to Michael, but Michael becomes infatuated with a financially struggling Countess, who manipulates him into selling a portrait of Zoret to pay off her debts. The film explores themes of love, betrayal, and artistic inspiration.
Reception: While not a box office success at the time, “Michael” is now recognized as a significant work in Dreyer’s filmography and a landmark in queer cinema. The film’s subtle and nuanced portrayal of a same-sex relationship was unusual for its time. The performances, particularly those of Benjamin Christensen as Zoret and Walter Slezak as Michael, are highly praised.
Die Nibelungen: Siegfried (1924)
Introduction: “Die Nibelungen: Siegfried” is the first part of Fritz Lang’s two-part epic silent film adaptation of the medieval Germanic poem, the Nibelungenlied. This 1924 film focuses on the story of the hero Siegfried.
Plot Summary: Siegfried, a prince, learns the art of forging from the dwarf Mime. He hears tales of the beautiful Kriemhild, princess of Burgundy, and decides to win her hand. He journeys to Worms, the Burgundian capital, and along the way, he slays a dragon and bathes in its blood, making him invulnerable (except for a single spot on his back). He helps King Gunther, Kriemhild’s brother, win the hand of the warrior queen Brünhild through trickery, and in return, Siegfried is allowed to marry Kriemhild.
Reception: “Die Nibelungen: Siegfried” was a massive undertaking, with elaborate sets, costumes, and special effects. It was a critical and commercial success, showcasing Lang’s mastery of visual storytelling and his ability to create a grand, epic scale. The film’s imagery and storytelling have influenced countless fantasy films.
Die Nibelungen: Kriemhild’s Revenge (1924)
Introduction: “Die Nibelungen: Kriemhild’s Revenge” is the second part of Fritz Lang’s 1924 silent film adaptation of the Nibelungenlied, continuing the story from “Siegfried.” This film focuses on the tragic consequences of betrayal and the relentless pursuit of vengeance.
Plot Summary: After Siegfried is murdered through the treachery of Hagen, a vassal of King Gunther, Kriemhild swears revenge. She marries Etzel (Attila the Hun) and uses her new power to lure Gunther, Hagen, and the Burgundian knights to her court. A massive, bloody battle ensues, resulting in the complete destruction of the Burgundians and Kriemhild’s own death.
Reception: Like “Siegfried,” “Kriemhild’s Revenge” was praised for its epic scope, its visual grandeur, and its powerful depiction of tragic fate. The two films together are considered a cornerstone of German silent cinema and a landmark achievement in epic filmmaking. The battle scenes are particularly noteworthy for their scale and intensity.
Faust (1926)
Introduction: “Faust – eine deutsche Volkssage” (“Faust – A German Folktale”) is a 1926 silent film directed by F. W. Murnau, based on the classic German legend of Faust and drawing on older versions of the story, as well as Goethe’s dramatic version.
Plot Summary: The demon Mephisto makes a bet with an Archangel that he can corrupt the soul of the righteous scholar Faust. Mephisto plagues Faust’s town with disease, and Faust, desperate to save his people, makes a pact with the demon. He gains youth and power in exchange for his soul, but ultimately seeks redemption.
Reception: “Faust” is renowned for its stunning visual effects, particularly the scenes depicting Mephisto and the flight sequences. Emil Jannings’s performance as Mephisto is considered iconic. The film showcases Murnau’s mastery of light and shadow, creating a powerful and visually arresting adaptation of the Faust legend.
The Adventures of Prince Achmed (1926)
Introduction: “The Adventures of Prince Achmed” (Die Abenteuer des Prinzen Achmed) is a 1926 German animated film by Lotte Reiniger. It is the oldest surviving animated feature film, preceding Walt Disney’s Snow White and the Seven Dwarfs by over a decade. It is made using silhouette animation, a technique Reiniger pioneered.
Plot Summary: The film is based on stories from One Thousand and One Nights (also known as Arabian Nights). It follows Prince Achmed as he rides a magical flying horse, battles demons, rescues a princess, and teams up with Aladdin and a witch to defeat an evil sorcerer.
Reception: “The Adventures of Prince Achmed” is celebrated for its intricate and beautiful silhouette animation, its imaginative storytelling, and its historical significance as a pioneering work of animation. The film’s artistry and charm continue to captivate audiences today.
Metropolis (1927)
Introduction: “Metropolis” is a 1927 German expressionist science-fiction film directed by Fritz Lang. A silent film, it is regarded as a pioneering work of the science-fiction genre and one of the most influential films ever made.
Plot Summary: Set in a futuristic urban dystopia, Metropolis is sharply divided between the working class, who live and toil in the underground, and the wealthy industrialists who live in luxury above. Freder, the son of the city’s master, discovers the plight of the workers and becomes sympathetic to their cause. He falls in love with Maria, a charismatic worker who preaches peace and understanding. However, the city’s ruler, Joh Fredersen, seeks to control the workers through a robot designed to look like Maria.
Reception: “Metropolis” was initially met with mixed reactions, with some criticizing its length and perceived socialist message. However, its groundbreaking visual effects, art deco design, and ambitious scale have since made it a landmark film. Numerous restorations and re-releases have attempted to reconstruct Lang’s original vision, as the film was heavily cut after its premiere.
Berlin: Symphony of a Great City (1927)
Introduction: “Berlin: Symphony of a Great City” (German: Berlin: Die Sinfonie der Großstadt) is a 1927 German silent film directed by Walter Ruttmann. 1 It is a “city symphony” film, a genre that portrays the life of a city through a montage of images and rhythmic editing.
Plot Summary: The film presents a day in the life of Berlin, from dawn to dusk. It shows the city waking up, the hustle and bustle of the streets, the work in factories, the leisure activities of its inhabitants, and the nightlife. There is no narrative or specific characters; the city itself is the protagonist.
Reception: “Berlin: Symphony of a Great City” is considered a masterpiece of avant-garde filmmaking. Ruttmann’s innovative use of montage, rhythmic editing, and abstract imagery creates a dynamic and poetic portrait of a modern metropolis. It influenced many subsequent documentary and experimental films.
Pandora’s Box (1929)
Introduction: “Pandora’s Box” (Die Büchse der Pandora) is a 1929 German silent film directed by G.W. Pabst, starring Louise Brooks as Lulu. The film is based on two plays by Frank Wedekind, Erdgeist (Earth Spirit) and Die Büchse der Pandora (Pandora’s Box).
Plot Summary: Lulu is a captivating and amoral young woman who attracts and destroys the men (and women) who fall in love with her. The film follows her rise and fall, from her life as a kept woman in Berlin to her tragic end in London.
Reception: “Pandora’s Box” was controversial upon its release due to its frank depiction of sexuality and its morally ambiguous protagonist. Louise Brooks’s performance as Lulu is now considered iconic, and the film is celebrated for its stunning visuals, its complex characters, and its exploration of female desire and societal hypocrisy. It is a key work of the late silent era.
Diary of a Lost Girl (1929)
Introduction:
“Diary of a Lost Girl” (German: Tagebuch einer Verlorenen) is a 1929 German silent film directed by G.W. Pabst and starring Louise Brooks. It is based on the controversial 1905 novel of the same name by Margarete Böhme. Like Pandora’s Box, it is a notable example of Pabst’s “New Objectivity” (Neue Sachlichkeit) style.
Plot Summary:
Thymiane Henning, the young daughter of a pharmacist, is seduced by her father’s assistant and becomes pregnant. After being forced to give up her child and sent to a strict reformatory, she escapes and eventually ends up working in a brothel. The film follows her struggles and the social forces that contribute to her downfall.
Reception:
“Diary of a Lost Girl” was heavily censored upon its release due to its frank depiction of sexuality and social issues. Louise Brooks’s performance, while initially overlooked, is now highly regarded for its naturalism and emotional depth. The film, like Pandora’s Box, is now seen as a critical examination of social hypocrisy and the exploitation of women in Weimar Germany.
People on Sunday (1930)
Introduction:
“People on Sunday” (German: Menschen am Sonntag) is a 1930 German silent film that blends documentary and fiction. It was directed by Robert Siodmak and Edgar G. Ulmer, with contributions from future Hollywood luminaries Billy Wilder and Fred Zinnemann. It’s a key example of the Neue Sachlichkeit (New Objectivity) movement in German cinema.
Plot Summary:
The film follows a group of young Berliners on a typical Sunday outing. They flirt, picnic, swim at a lake, and enjoy the simple pleasures of a day off. The film has no real plot; it’s a slice-of-life portrait of ordinary people in pre-Nazi Germany.
Reception:
“People on Sunday” is celebrated for its naturalistic style, its use of non-professional actors, and its documentary-like approach to capturing everyday life. It is considered a precursor to Italian Neorealism and the French New Wave, and it offers a fascinating glimpse into Weimar-era Berlin.
The Blue Angel (1930)
Introduction:
“The Blue Angel” (German: Der blaue Engel) is a 1930 German tragicomedy film directed by Josef von Sternberg and starring Emil Jannings and Marlene Dietrich. It is based on Heinrich Mann’s 1905 novel Professor Unrat (Professor Garbage) and presents the tragic downfall of a respectable professor due to his obsession with a cabaret singer.
Plot Summary:
Professor Immanuel Rath, a strict and respected schoolteacher, becomes infatuated with Lola Lola, a seductive singer at the Blue Angel nightclub. He abandons his career and marries her, becoming increasingly degraded and humiliated as he descends into a life of clownish performance and dependence on Lola.
Reception:
“The Blue Angel” launched Marlene Dietrich to international stardom, defining her image as a glamorous and alluring femme fatale. The film is notable for its atmospheric visuals, its exploration of obsession and social decline, and its groundbreaking use of sound (it was one of the first major German sound films). It’s considered a classic of early sound cinema.
M (1931)
Introduction:
“M” is a 1931 German thriller directed by Fritz Lang, written by Lang and Thea von Harbou. It is considered one of the first, and greatest, examples of the serial killer film genre.
Plot Summary:
A child murderer is terrorizing Berlin. The police’s intense efforts to catch the killer disrupt the criminal underworld, who decide to take matters into their own hands and hunt down the murderer themselves. Peter Lorre plays Hans Beckert, the child killer, who is eventually captured and put on “trial” by the city’s criminals.
Reception:
“M” is renowned for its innovative use of sound, its suspenseful atmosphere, and Peter Lorre’s chilling performance. Lang masterfully uses leitmotifs (recurring musical themes) to build tension and create a sense of dread. The film is also notable for its exploration of social issues, such as mob justice and the psychological roots of crime. It’s considered a masterpiece of German cinema and a highly influential film noir precursor.
Vampyr (1932)
Introduction:
“Vampyr” (German: Vampyr – Der Traum des Allan Grey, “Vampyr – The Dream of Allan Grey”) is a 1932 horror film directed by Danish director Carl Theodor Dreyer. It was filmed in France with German, French, and English dialogue versions, and is loosely based on elements from J. Sheridan Le Fanu’s collection of supernatural stories In a Glass Darkly.
Plot Summary:
Allan Grey, a student of the occult, arrives at a remote inn and becomes embroiled in a series of strange events. He witnesses shadowy figures, encounters a doctor who may be involved in vampirism and tries to protect two sisters from a malevolent supernatural force.
Reception:
“Vampyr” was not well-received upon its initial release, but it has since been recognized as a masterpiece of atmospheric horror. Dreyer creates a dreamlike, unsettling mood through unusual camera angles, evocative lighting, and minimal dialogue. The film relies more on suggestion and atmosphere than on explicit gore, making it a uniquely unsettling and influential horror film.
The Testament of Dr. Mabuse (1933)
Introduction:
“The Testament of Dr. Mabuse” (German: Das Testament des Dr. Mabuse) is a 1933 German crime-thriller film directed by Fritz Lang. It is a sequel to Dr. Mabuse, the Gambler (1922) and features the return of the criminal mastermind, this time operating from within an insane asylum.
Plot Summary:
Dr. Mabuse, now confined to an asylum, is seemingly catatonic. However, he continues to write detailed plans for crimes, which are then carried out by a gang operating outside the asylum. Inspector Lohmann, who appeared in M, investigates the crimes and gradually uncovers Mabuse’s influence.
Reception:
“The Testament of Dr. Mabuse” is notable for its anti-Nazi themes, which led to its being banned in Germany by Joseph Goebbels. Lang claimed that he intended the film as an allegory for the rise of Hitler and the Nazi Party. It is considered a classic thriller, with its suspenseful plot, atmospheric visuals, and exploration of the power of ideas and the dangers of unchecked authority.
Triumph of the Will (1935)
Introduction: “Triumph of the Will” (German: Triumph des Willens) is a 1935 Nazi propaganda film directed, produced, edited, and co-written by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congress in Nuremberg.
Plot Summary: The film is a documentary record of the 1934 Nazi Party rally, featuring speeches by Nazi leaders, including Adolf Hitler, and massive displays of military parades, rallies, and pageantry. It is designed to showcase the power, unity, and supposed grandeur of the Nazi movement.
Reception: “Triumph of the Will” is a highly controversial film. While it is undeniably a technically brilliant piece of filmmaking, its purpose was to glorify the Nazi regime. It is considered a prime example of propaganda in film and is studied for its techniques of persuasion and manipulation. While it won awards at the time, its association with Nazism makes it a deeply problematic work.
Olympia (1938)
Introduction: “Olympia” is a 1938 German two-part Nazi propaganda documentary film by Leni Riefenstahl, documenting the 1936 Summer Olympics, held in Berlin.
Plot Summary: The film is divided into two parts: Olympia Part One: Festival of the Nations (Fest der Völker) and Olympia Part Two: Festival of Beauty (Fest der Schönheit). It showcases the athletic competitions, the opening and closing ceremonies, and the atmosphere of the Games. Riefenstahl employed groundbreaking cinematic techniques, including slow motion, unusual camera angles, and underwater shots.
Reception: Like Triumph of the Will, Olympia is both technically impressive and deeply controversial. It is praised for its innovative cinematography and its aesthetic depiction of the human body in motion. However, it is also criticized for its use as a propaganda tool by the Nazi regime to promote an image of Aryan supremacy and German strength. The film won several awards, but its legacy remains complex.
The Bridge (1959)
Introduction:
“The Bridge” (German: Die Brücke) is a 1959 West German anti-war film directed by Bernhard Wicki. It is based on a 1958 novel of the same name by Manfred Gregor (a pseudonym for journalist and author Gregor Dorfmeister), which was based on a true event.
Plot Summary:
In the final days of World War II, a group of seven German teenage boys, caught up in the fervor of Nazi propaganda, are assigned to defend a strategically insignificant bridge in their small town. Initially excited to be soldiers, they are left to their post by their retreating commanding officer, who intends for them to be captured rather than killed. However, the boys, fueled by youthful idealism and a lack of understanding of the war’s realities, take their orders literally and defend the bridge against an approaching American unit, resulting in a tragic and pointless battle.
Reception:
“The Bridge” is considered a powerful and harrowing anti-war film. It is praised for its realistic depiction of the horrors of war, its unflinching portrayal of the naivete and indoctrination of youth, and its strong performances. It won several international awards and is considered a classic of German cinema.
Young Törless (1966)
Introduction:
“Young Törless” (German: Der junge Törless) is a 1966 West German film directed by Volker Schlöndorff, based on the 1906 autobiographical novel The Confusions of Young Törless by Robert Musil.
Plot Summary:
Set in a prestigious Austrian military academy at the turn of the century, the film follows the experiences of young Törless, a sensitive and intellectual student. He witnesses the brutal and systematic bullying, and eventually sexual abuse, of a fellow student, Basini, by two other students, Reiting and Beineberg. Törless is initially a passive observer, fascinated and disturbed by the events, but he gradually becomes more involved, struggling with his own moral complicity and the inherent sadism he observes in the school’s environment.
Reception:
“Young Törless” is considered a key film of the New German Cinema. It is praised for its exploration of themes of power, sadism, repressed sexuality, and the moral dilemmas of adolescence. The film’s stark black-and-white cinematography and unsettling atmosphere contribute to its powerful impact. It won several awards, including the FIPRESCI Prize at the 1966 Cannes Film Festival.
Signs of Life (1968)
Introduction: “Signs of Life” (German: Lebenszeichen) is a 1968 West German film directed by Werner Herzog, based loosely on the 1819 novella “The Madman of Fort Ratonneau” by Achim von Arnim. It was Herzog’s first feature film.
Plot Summary: Stroszek, a German paratrooper during World War II, is wounded and sent to recuperate on the quiet Greek island of Kos, along with his wife Nora and two other soldiers. Bored and isolated, Stroszek gradually descends into madness, becoming obsessed with setting off a vast display of fireworks.
Reception: “Signs of Life” established many of the themes that would recur in Herzog’s later work, including the obsessive nature of individuals, the conflict between man and nature, and the exploration of extreme psychological states. The film won the Silver Bear Extraordinary Prize of the Jury at the 18th Berlin International Film Festival. It is notable for its stark, beautiful imagery and its unsettling portrayal of a man’s descent into delusion.
Katzelmacher (1969)
Introduction:
“Katzelmacher” is a 1969 West German film written and directed by Rainer Werner Fassbinder. It is one of Fassbinder’s early works and a key example of his minimalist, theatrical style. “Katzelmacher” is a Bavarian slang term for a foreigner, especially a migrant worker, often with derogatory connotations.
Plot Summary:
The film depicts a group of young, bored, and disaffected people living in a Munich suburb. Their mundane lives are disrupted by the arrival of Jorgos, a Greek “guest worker.” The group’s prejudices and xenophobia are exposed as they react to Jorgos’s presence, leading to violence and social tension.
Reception:
“Katzelmacher” is notable for its stark, minimalist style, its use of long takes and static camera positions, and its exploration of themes of xenophobia, social alienation, and the boredom of everyday life. It won several awards and helped establish Fassbinder as a major figure in the New German Cinema.
The American Soldier (1970)
Introduction:
“The American Soldier” (German: Der amerikanische Soldat) is a 1970 West German film directed by Rainer Werner Fassbinder. It’s a stylized gangster film that blends elements of Hollywood film noir with Fassbinder’s own unique aesthetic.
Plot Summary:
Ricky, a cold-blooded German-American contract killer, returns to his hometown of Munich. He is hired by three corrupt policemen to eliminate a few problematic individuals. The film follows Ricky as he carries out his assignments, interacts with various characters (including his mother and brother), and becomes entangled in a web of betrayal and violence.
Reception:
“The American Soldier” is characteristic of Fassbinder’s early work, with its detached, almost Brechtian style, its exploration of violence and alienation, and its critique of societal structures. While not as widely known as some of his later films, it is a significant example of his unique approach to genre filmmaking.
Why Does Herr R. Run Amok? (1970)
Introduction: “Why Does Herr R. Run Amok?” (German: Warum läuft Herr R. Amok?) is a 1970 West German film co-directed by Rainer Werner Fassbinder and Michael Fengler. The film depicts the seemingly ordinary life of Herr R. leading up to a shocking act of violence.
Plot Summary: The film meticulously documents the mundane and repetitive daily life of Herr Raab, a technical draftsman. We see his interactions with his wife, his son, his colleagues, and his neighbors. The film builds a sense of quiet desperation and suppressed frustration beneath the surface of Herr R.’s seemingly normal existence, culminating in an unexpected and brutal act of violence.
Reception: “Why Does Herr R. Run Amok?” is considered one of Fassbinder’s most powerful and disturbing films. Its naturalistic style, its lack of melodrama, and its focus on the banality of everyday life make the final act of violence all the more shocking. The film is a chilling study of alienation and the potential for violence that can lurk beneath the surface of ordinary life.
The Tin Drum (1979)
Introduction:
“The Tin Drum” (German: Die Blechtrommel) is a 1979 film directed by Volker Schlöndorff, based on the 1959 novel of the same name by Günter Grass. It is a surreal and allegorical story set in Danzig (now Gdańsk, Poland) during the rise of Nazism.
Plot Summary:
Oskar Matzerath, born with an adult intellect, decides at the age of three to stop growing in protest against the adult world. He receives a tin drum as a gift, which becomes his constant companion and a means of expressing his outrage and frustration. The film follows Oskar’s life and his experiences as he witnesses the rise of Nazism and the horrors of World War II, using his piercing scream and his drumming as acts of defiance.
Reception:
“The Tin Drum” was a controversial but critically acclaimed film. It won the Palme d’Or at the 1979 Cannes Film Festival (shared with Apocalypse Now) and the Academy Award for Best Foreign Language Film. It is praised for its striking imagery, its bold adaptation of Grass’s complex novel, and its powerful performances, particularly by David Bennent as Oskar.
The Marriage of Maria Braun (1979)
Introduction: “The Marriage of Maria Braun” (German: Die Ehe der Maria Braun) is a 1979 West German film directed by Rainer Werner Fassbinder. It is the first installment of Fassbinder’s BRD Trilogy (BRD standing for Bundesrepublik Deutschland, or Federal Republic of Germany), which examines post-war German society.
Plot Summary: Maria Braun marries her soldier husband, Hermann, during World War II, only for him to be sent to the front shortly after. Believing Hermann to be dead, Maria embarks on a series of relationships with men in order to survive and prosper in post-war Germany. She becomes a successful businesswoman, but her personal life is marked by sacrifice and compromise. The film explores themes of ambition, guilt, and the moral compromises of the post-war “economic miracle.”
Reception: “The Marriage of Maria Braun” is considered one of Fassbinder’s greatest achievements and a key film of the New German Cinema. Hanna Schygulla’s performance as Maria is widely acclaimed. The film won numerous awards and is praised for its sharp social commentary and its complex portrayal of a woman navigating a rapidly changing society.
Wings of Desire (1987)
Introduction: Wings of Desire (German: Der Himmel über Berlin, “The Sky Above Berlin”) is a 1987 fantasy film directed by Wim Wenders. The film is about invisible, immortal angels who populate Berlin and listen to the thoughts of its human inhabitants, comforting the distressed.
Plot Summary: Two angels, Damiel and Cassiel, watch over the city of Berlin. They observe and listen to the thoughts of the city’s inhabitants, offering silent comfort. Damiel, however, grows weary of his eternal, immaterial existence and longs to experience the world as a human. He falls in love with a trapeze artist, Marion, and contemplates becoming mortal.
Reception: “Wings of Desire” is celebrated for its beautiful black-and-white cinematography (with color sequences representing the human perspective), its poetic dialogue, and its philosophical exploration of what it means to be human. Bruno Ganz’s performance as Damiel is particularly memorable. The film won numerous awards, including Best Director at the 1987 Cannes Film Festival, and has been highly influential.
Goodbye, Lenin! (2003)
Introduction: “Goodbye, Lenin!” is a 2003 German tragicomedy directed by Wolfgang Becker. The film is set in East Berlin during the period immediately following the fall of the Berlin Wall.
Plot Summary: Christiane Kerner, a staunch socialist, falls into a coma shortly before the fall of the Berlin Wall. When she awakens months later, her son, Alex, is told by doctors that any shock could be fatal. To protect her, Alex creates an elaborate deception, recreating the vanished world of East Germany within their apartment, pretending that the GDR still exists.
Reception: “Goodbye, Lenin!” was a major critical and commercial success, both in Germany and internationally. It is praised for its humor, its touching portrayal of family relationships, and its insightful commentary on the social and political changes in Germany after reunification. The film won numerous awards and is considered a modern classic of German cinema.
Downfall (2004)
Introduction: “Downfall” (German: Der Untergang) is a 2004 German-language historical war drama film directed by Oliver Hirschbiegel, depicting the final ten days of Adolf Hitler’s life in his Berlin bunker in 1945.
Plot Summary: The film is largely told from the perspective of Traudl Junge, one of Hitler’s secretaries. It portrays the increasingly desperate and delusional atmosphere in the bunker as the Red Army closes in, and depicts the suicides of Hitler, Eva Braun, and other Nazi leaders.
Reception: “Downfall” was both critically acclaimed and controversial. Bruno Ganz’s performance as Hitler is widely considered one of the most compelling and accurate portrayals of the dictator on film. While the film was praised for its historical accuracy and its powerful performances, it also sparked debate about its humanization of Hitler and other Nazi figures. The “Hitler Rants” internet meme is based on a scene from this film.
The Lives of Others (2006)
Introduction: “The Lives of Others” (German: Das Leben der Anderen) is a 2006 German drama film written and directed by Florian Henckel von Donnersmarck. It marks his feature film directorial debut. The film is about the monitoring of East Berlin’s cultural scene by agents of the Stasi, the GDR’s secret police.
Plot Summary: In 1984 East Berlin, Gerd Wiesler, a highly skilled Stasi captain, is assigned to conduct surveillance on the playwright Georg Dreyman and his actress girlfriend, Christa-Maria Sieland. Wiesler becomes increasingly disillusioned with the Stasi and emotionally involved in the lives of the couple he is spying on, eventually taking steps to protect them.
Reception: “The Lives of Others” was a major critical and commercial success. It won the Academy Award for Best Foreign Language Film and numerous other awards. It is praised for its compelling story, its strong performances (particularly by Ulrich Mühe as Wiesler), its atmospheric depiction of East Berlin under surveillance, and its exploration of themes of loyalty, betrayal, and artistic freedom.
The Counterfeiters (2007)
Introduction:
“The Counterfeiters” (German: Die Fälscher) is a 2007 Austrian-German drama film written and directed by Stefan Ruzowitzky. 1 It is based on the memoir of Adolf Burger, a Jewish Slovak typographer who was imprisoned by the Nazis and forced to participate in Operation Bernhard, a secret plan to forge British banknotes.
Plot Summary:
Salomon “Sally” Sorowitsch, a skilled Jewish counterfeiter, is arrested and sent to a concentration camp. He is later transferred to Sachsenhausen concentration camp and selected to participate in Operation Bernhard. Forced to work with other Jewish prisoners with printing and artistic skills, Sally struggles with his conscience as he helps the Nazis destabilize the Allied economies while simultaneously trying to ensure the survival of himself and his fellow inmates.
Reception:
“The Counterfeiters” won the Academy Award for Best Foreign Language Film in 2008. It is praised for its gripping story, its strong performances (particularly by Karl Markovics as Sorowitsch), and its exploration of moral dilemmas in the face of unimaginable circumstances. The film offers a unique perspective on the Holocaust, focusing on a lesser-known aspect of Nazi operations.
The White Ribbon (2009)
Introduction:
“The White Ribbon” (German: Das weiße Band – Eine deutsche Kindergeschichte, “The White Ribbon – A German Children’s Story”) is a 2009 German-language black-and-white drama film written and directed by Michael Haneke.
Plot Summary:
Set in a small, seemingly idyllic Protestant village in northern Germany just before World War I, the film depicts a series of disturbing and unexplained events that disrupt the community’s order. A doctor is injured in a riding accident, a barn is set on fire, and children are subjected to mysterious acts of cruelty. The film, narrated by the village schoolteacher, explores the roots of evil and the potential for violence that can lurk beneath the surface of a seemingly orderly society. The white ribbon of the title is used by the village pastor to remind his children of purity and innocence.
Reception:
“The White Ribbon” received widespread critical acclaim. It won the Palme d’Or at the 2009 Cannes Film Festival and was nominated for the Academy Award for Best Foreign Language Film. The film is praised for its stark black-and-white cinematography, its unsettling atmosphere, its complex exploration of societal repression and collective guilt, and its ambiguous ending, which leaves the audience to draw their own conclusions. Many critics see the film as an allegory for the rise of Nazism, exploring the potential for authoritarianism within a seemingly normal community.
Victoria (2015)
Introduction:
“Victoria” is a 2015 German crime thriller film directed by Sebastian Schipper. It is notable for being filmed in a single continuous shot.
Plot Summary:
Victoria, a young Spanish woman living in Berlin, meets four young men outside a nightclub. They invite her to join them, and she impulsively agrees. What begins as a night of fun and flirtation quickly escalates into a dangerous situation when the men are forced to repay a debt to a gangster. Victoria finds herself drawn into their criminal activities, acting as their getaway driver.
Reception:
“Victoria” received widespread critical acclaim for its technical achievement (the single-take filming), its immersive atmosphere, and the performances of its cast, particularly Laia Costa as Victoria. The film creates a sense of real-time urgency and tension, drawing the viewer directly into Victoria’s increasingly perilous situation. It won numerous awards, including six German Film Awards.
Toni Erdmann (2016)
Introduction:
“Toni Erdmann” is a 2016 German-Austrian comedy-drama film directed, written, and co-produced by Maren Ade.
Plot Summary:
Winfried Conradi, a retired music teacher with a penchant for elaborate pranks, decides to reconnect with his estranged daughter, Ines, a high-powered business consultant working in Bucharest. He creates an alter ego, the outrageous “Toni Erdmann,” complete with a bad wig and false teeth, and inserts himself into Ines’s professional and personal life, causing chaos and forcing her to confront her own values and priorities.
Reception:
“Toni Erdmann” was widely acclaimed as one of the best films of 2016. It was praised for its unique blend of humor and pathos, its insightful exploration of family relationships, and the outstanding performances of Peter Simonischek as Winfried/Toni and Sandra Hüller as Ines. The film premiered at the 2016 Cannes Film Festival, where it won the FIPRESCI Prize, and it was nominated for the Academy Award for Best Foreign Language Film.
System Crasher (2019)
Introduction:
“System Crasher” (German: Systemsprenger) is a 2019 German drama film directed by Nora Fingscheidt.
Plot Summary:
Nine-year-old Benni (Bernadette) is a “system crasher” – a child who repeatedly falls through the cracks of the German child protective services system due to her uncontrollable aggression and trauma-induced behavioral problems. The film follows Benni’s desperate search for love and security, and the struggles of social workers and caregivers to find a place for her.
Reception:
“System Crasher” was praised for its raw and unflinching portrayal of a child with severe behavioral issues and the challenges faced by the child welfare system. Helena Zengel’s performance as Benni is extraordinary, capturing the character’s rage, vulnerability, and desperate need for connection. The film won numerous awards, including eight German Film Awards, and was selected as the German entry for the Best International Feature Film at the 92nd Academy Awards, though it was not nominated. It’s a powerful and emotionally challenging film.
