Koeln 75

In the Wild West days of early filmmaking—before Hollywood hardened into an assembly-line behemoth and boys’ club—talented women worked regularly as writers, producers, and directors, instrumental in shaping the very language of cinema as we know it. Nevertheless, figures like Alice Guy Blaché and Lois Weber are known today primarily by aficionados, and artists like Nell Shipman, Grace Cunard, and Marion E. Wong remain woefully obscure. Bringing together dozens of essential new restorations, this series spotlights the daring, innovative, and trailblazing work of the first female filmmakers and restores their centrality to the creation of cinema itself.

Ran is Japanese filmmaker Akira Kurosawa's reinterpretation of William Shakespeare's King Lear. The Lear counterpart is an elderly 16th-century warlord (Tatsuya Nakadai), who announces that he's about to divide his kingdom equally among his three sons. In his dotage, he falls prey to the false flattery of his treacherous sons (Akira Terao and Jinpachi Nezu), while banishing his youngest son (Daisuke Ryu), the only member of the family who loves him enough to tell him the unvarnished truth. Thanks to his foolish pride, his domain collapses under its own weight as the sons battle each other over total control. Kurosawa's first film in five years, Ran had been in the planning stages for twice that long; Kurosawa had storyboarded the project with a series of vivid color paintings that have since been published in book form in England. The battle scenes are staged with such brutal vigor that it's hard to imagine that the director was 75 years old at the time. This 160-minute historical epic won several international awards, but it was not a hit in Japan, and it would be five more years before Kurosawa would be able to finance another picture.

When boyfriend Vince Nichols won't give up his gambling, Abby joins vaudeville partners Carol and June in a trek to Las Vegas searching for millionaires, followed by playboy Ted Lansing with a big crush on Abby. When the girls learn that uncle Felix Hoff is going broke with his casino, Abby accepts Ted because of his wealth. Arriving to halt the nuptials is Ted's banker cousin from Boston, Bennington, and an irate Vince.

The story of a father, who suffers a severe trauma, his decision to upload his consciousness, and the effect this has on his daughter. Technology isn't always what it seems, and he leaves his daughter with an impossible choice.

It is the story of one Mr. Fox and his wild-ways of hen heckling, turkey taking and cider sipping, nocturnal, instinctive adventures. He has to put his wild days behind him and do what fathers do best: be responsible. He is too rebellious. He is too wild. He is going to try "just one more raid" on the three nastiest, meanest farmers that are Boggis, Bunce and Bean. It is a tale of crossing the line of family responsibilities and midnight adventure and the friendships and awakenings of this country life that is inhabited by Fantastic Mr. Fox and his friends.

Complétés par des statistiques éloquentes et les commentaires de Jean-Paul Fitoussi et du sociologue Berthold Vogel, les entretiens avec des Français et des Allemands de la classe moyenne font apparaître un fort sentiment de déclassement et de perte de niveau de vie. Le revenu est une première donnée objective possible pour déterminer ce qu'est la classe moyenne. Selon ce seul critère, elle regroupe tous ceux qui touchent entre 75 et 150 % du revenu moyen. En Allemagne, les statistiques font apparaître que cette classe moyenne se réduit depuis des années.