Krug 3

Although he is chiefly known as a popular German television actor, Manfred Krug has also had careers as a film actor and as a pop-jazz singer. Born in Duisburg on February 8, 1937, he relocated to East Germany in 1949 at the age of 13, where he worked in a steel factory until he began acting on stage and in films in 1956. He recorded several successful pop-jazz albums in the early '70s, often in conjunction with composer Gunther Fischer. He also began a career as a writer under the alias Clemens Kerber. Frustrated with the political climate in East Germany (he had been forbidden to perform), Krug applied for and was granted permission to move to the West German portion of Berlin in 1977. Once settled there, he continued to act but sang and recorded only occasionally, and through the 1980s and 1990s and into the 21st century he has worked primarily as an actor in various television shows.

Wolf Parade's Spencer Krug has announced new solo album Fading Graffiti which will be out April 16 via his own helpfully named label, Pronounced Kroog. The album takes songs that originated as piano ballads on Krug's Patreon in 2019 and recontextualizes them as indie rock. This is also Krug's first album under his own name, having previously worked under his Moonface solo guise and Sunset Rubdown. The first single is Fading Graffiti's title track, which is pretty terrific – swooning and odd, and maybe just a little like Destroyer's more guitar-centric records.

In Stuttgart erregt das Bahnhofsprojekt Stuttgart 21 die Gemüter. Als der Vorstandsvorsitzende der größten Bank des Landes in einem Kellerraum des Stuttgarter Hauptbahnhofs erschlagen aufgefunden wird, gerät der Bahn-Manager Norbert Hagemann unter dringenden Mordverdacht. Der karrierebesessene Finanzjongleur war nicht nur zur Tatzeit am Tatort. Bald wird auch bekannt, dass er ein Verhältnis mit der Frau des toten Bankers hat. Doch diese Lösung scheint dem erfahrenen Kriminalbeamten Herbert Bolz viel zu einfach …

À bientôt quarante ans, Jeanne est au bout du bout du rouleau. Plus de mec, un travail qui ne rapporte pas un rond, des relations tendues avec sa mère et quelques kilos en trop, sa vie ressemble à un désastre. Afin de l'aider à faire le point, sa soeur lui offre une semaine de vacances. Mais pas pour se la couler douce, non, pour faire une cure de jeûne. Le pire cauchemar de Jeanne ! Imaginer dire adieu au pain au chocolat du matin et à tous les gâteaux qu'elle avale compulsivement, c'est déjà une torture, alors huit jours de diète forcée, c'est au-dessus de ses forces. Et pourtant …

Aleksandr Sokurov creates a haunting, austere, and emotionally honest examination of death, bereavement, and loneliness in The Second Circle. The title of the film refers to the second circle of hell depicted in The Divine Comedy, Volume I: Inferno by Dante Alighieri, the realm of damnation where the souls (of the lustful) are punished by the eternal lashing of a raging, infernal storm (note the referential parallel imagery of the opening blizzard scene). Using high contrast, raw, monochromatic imagery, and spare, but deliberate use of close-up shots, Sokurov reflects the soul's innate longing for compassion, human decency, and spiritual communion in an increasingly amoral, apathetic, and materialistic society…..