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1-8 of 8
- Theo, an attractive German call boy, markets himself to other men in the personal ads of Berlin papers and leads an otherwise quiet life across the hall from Marie. Marie and Paul share an apartment that Marie pays for by working at a record store. A would-be writer, Paul spends his days sleeping or staring at the blank sheet of paper in his typewriter. After Paul leaves Marie for what he calls her "grotesque mediocrity," the protracted silence from across the hallway concerns Theo. Finally, on returning home one day, he observes that Marie's door is half open and ventures into her apartment to see if she is okay. Marie is devastated by Paul's departure and Theo takes it upon himself to coax her back to life. Strangely enough, he finds that she also awakens in him a desire for life that he had lost or given away to the countless men with whom he shares his body. When the two become intimate, Theo feels -- perhaps for the first time in a very long time -- that he is loved. Paul's untimely return signals the end of Theo's relationship with Marie and his life becomes once again a contrast of furtive rendezvous and bleak isolation.
- A rehabilitation center for physically handicapped children and youth is the focus of this docudrama. Long corridors, offbeat characters and passions.
- Mr. Rotwang, an industrialist who also worked for the government, is murdered. Who is behind the murder? Different groups seem to have a motive: the RAF, the Stasi and his wife.
- In her essay film, Eva Hiller illustrates the nightly infrastructure of a large city, using Frankfurt am Main and Berlin as examples. Just as pet reptiles gone feral are reported to populate New York's sewers, so too is there bustling activity - often invisible to outsiders - when darkness falls on Germany's metropolises. Invisible Days illustrates the ways in which that activity is linked to technocratic hierarchies on the one hand, and physical labor on the other, in an analogy with the behemoth machinery in Fritz Lang's Metropolis. Images of traffic control systems with their blinking circuits and automated sorting facilities are juxtaposed with observations of night-shift workers at Frankfurt airport or in an emergency room. Shots from sewage treatment plants and cable ducts, video stores and laundromats show the vast extent to which the empire of light keeps the central supply arteries functioning, thereby sustaining the municipal order even by night... Enhanced by critical commentary and narrative interpolations, Eva Hiller's brilliant montages illuminate the dark side of modernity: "It must be night for it to become day."