Caligari 1919

In Nerven, writer-director-producer Robert Reinert tried to capture the "nervous epidemic" caused by war and misery which "drives people mad". This unique portrait of the life in 1919 Germany, filmed on location in Munich, describes the cases of different people from all levels of society: Factory owner Roloff who looses his mind in view of catastrophies and social disturbances, teacher John who is the hero of the masses and Marja who turns into a radical revolutionary. Using different fragments the Munich Film Museum could reconstruct this forgotten German classic which is a historic document and anticipates already elements of the Expressionist cinema of the 1920s.

Kay Hoog finds a message that indicates that some Incas are still alive, but the secret organisation "Die Spinnen" wants the Incas' gold….

A landmark work in the history of the cinema, Der letzte Mann represents a breakthrough on a number of fronts. Firstly, it introduced a method of purely visual storytelling in which all intertitles and dialogue were jettisoned, setting the stage for a seamless interaction between film-world and viewer. Secondly, it put to use a panoply of technical innovations that continue to point distinct ways forward for cinematic expression nearly a century later. It guides the silent cinema’s melodramatic brio to its lowest abject abyss — before disposing of the tragic arc altogether. The lesson in all this? That a film can be anything it wants to be… but only Der letzte Mann (and a few unforgettable others) were lucky enough to issue forth into the world under the brilliant command of master director F.W. Murnau.

A landmark work in the history of the cinema, Der letzte Mann represents a breakthrough on a number of fronts. Firstly, it introduced a method of purely visual storytelling in which all intertitles and dialogue were jettisoned, setting the stage for a seamless interaction between film-world and viewer. Secondly, it put to use a panoply of technical innovations that continue to point distinct ways forward for cinematic expression nearly a century later. It guides the silent cinema’s melodramatic brio to its lowest abject abyss — before disposing of the tragic arc altogether. The lesson in all this? That a film can be anything it wants to be… but only Der letzte Mann (and a few unforgettable others) were lucky enough to issue forth into the world under the brilliant command of master director F.W. Murnau.

Based on a play by Frank Harvey, this is the story of William, a taciturn lighthouse keeper who marries dance-hall girl Eileen. Their already shaky relationship is further damaged when the husband hires a handsome young assistant named Gordon, who immediately inaugurates an affair with the wife. When Gordon is arrested for a killing committed by Eileen, she leaves her husband and returns to the dance-hall whence she came, there to patiently await her lover's release from jail. The stars of the British Cape Forlorn were Fay Compton (Eileen), Frank Harvey (William) and Ian Hunter (Gordon); in Menschen im Kaefig, these roles were essayed by Tala Birrell, Fritz Kortner and Heinrich George (also appearing in a lesser role was Conrad Veidt, the star of the 1919 silent classic Cabinet of Dr. Caligari).