The director Friedrich Monroe has trouble with finishing a silent b&w movie about Lisbon. He calls his friend, the sound engineer Phillip Winter, for help. As Winter arrives Lisbon weeks ... See full summary »
A rare gem of cinematic storytelling that weaves docudrama, fictional reenactment, and experimental photography into a powerful, reflective work on the early days of German cinema. The film... See full summary »
After the wild life-style of a famous young German photographer almost gets him killed, he goes to Palermo, Sicily to take a break. Can the beautiful city and a beautiful local woman help him calm himself down?
Mike Max is a Hollywood producer who became powerful and rich thanks to brutal and bloody action films. His ignored wife Paige is close to leaving him. Suddenly Mike is kidnapped by two ... See full summary »
Set in 1999, a woman (Dommartin) has a car accident with some bank robbers, who enlist her help to take the bank money to a drop in Paris. On the way she runs into another fugitive from the... See full summary »
German journalist Philip Winter has a case of writer's block when trying to write an article about the United States. He decides to return to Germany, and while trying to book a flight, encounters a German woman and her nine year old daughter Alice doing the same. The three become friends (almost out of necessity) and while the mother asks Winter to mind Alice temporarily, it quickly becomes apparent that Alice will be his responsibility for longer than he expected. After returning to Europe, the innocent friendship between Winter and Alice grows as they travel together through various European cities on a quest for Alice's grandmother. Written by
Karl Engel <firstname.lastname@example.org>
The novel "Tender is the Night" by F. Scott Fitzgerald is seen on the coffee table of Phil Winter's girlfriend. A character in the novel, Rosemary Hoyt, was inspired by Fitzgerald's affair with actress Lois Moran, who appears in this film as an airport hostess. See more »
Crew are reflected in the side of the car (at around 46 mins) (sound man, microphone and other crew) See more »
Lisa - Alice's Mother:
What are you writing?
Philip 'Phil' Winter:
The inhuman thing about American TV is not so much that they hack everything up with commercials, though that's bad enough, but in the end all programmes become commercials. Commercials for the status quo. Every image radiates the same disgusting and nauseated message. A kind of boastful contempt. Not one image leaves you in peace, they all want something from you.
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A man around thirty, German journalist Philip Winters, travels alone in a rented car all over the States. He makes pictures with a Polaroid camera, which he wants to include in a story that he has to write for a publishing house. But the results of his photographic efforts do not correspond with what he believed to see when he took the pictures. And he does not even dare to assimilate his impressions into a written form. It seems, as if he keeps seeing nothing but the void, either the uniform monotony of always recurring urban landscapes on his lonely journeys or, in the single rooms of the motels, a television program that constantly reels off the same dull and dreary patterns. And how can you put emptiness into words?
A silenced bewilderment has already become routine in the completely paralyzed life of a man, who only pities himself, and who apparently has lost all access to his fellow men. Therefore the girlfriend in New York, to whom he wants to unburden all his world-weariness can do nothing for him but show him the door, saying: "Nobody told me how to live either."
So he forgot how to live, our very typical hero of modern times. But just as in a children's story rescue suddenly appears in the shape of a wondrous fairy, Philip Winters also has a surprising encounter, which will help him to determine his position in this world anew. The unexpected enlightening figure is a child, nine-year-old Alice. Her mother, whose acquaintance Philip had somehow forcibly made at the airport counter, has let her down, leaving behind a succinct message, in which she asks Winters to take provisionally charge of the girl until she will follow them to Amsterdam in a later airplane.
The mother does not appear though, and thus Philip Winters does not have any other alternative but to go on looking after the child, a responsibility he most willingly would like to avoid. But Alice remains persistent, she scents the possibility of an exciting adventure. She mentions a grandmother, who possibly lives in Wuppertal, West Germany. Unwillingly Winters bows to his fate, but after a few abortive attempts he simply deposits her at a police station and goes to a Chuck Berry concert on his own.
That could be the end of the story. But as I already mentioned, Alice is a fairy. And so she does not only come back, but also actually succeeds in getting a mechanism going in Philip Winters which seemed to be already dead and buried: the reference to the other one, the preparedness to get involved with his fellow creatures. At the end of the film he seems to be recovered, the train in which he and Alice are sitting, is obviously moving along on newly built tracks, the decisive switching of the points has been made.
At least for the time being. For it is exactly in this hopeful and promising moment that we have to leave this wonderful movie. We are just allowed to throw another brief glance at the protagonist, who is sitting in the compartment joyfully united with Alice, a moment before the camera steps back and rises into the air, moving irresistibly away from the scene, until it depicts a vast panoramic view. But our eyes are still fixed on the train that hastens steadily through the immense landscape heading towards a destiny unknown.
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