The life story of the multi-talented German nun Hildegard von Bingen. The film portrays an original woman - best known as a composer and religious visionary - whose grand claims often run ... See full summary »
Margarethe von Trotta
Germany, 1968: The priest's daughters Marianna and Juliane both fight for changes in society, like making abortion legal. However their means are totally different: while Juliane's ... See full summary »
Margarethe von Trotta
As the Allies sweep across Germany, Lore leads her siblings on a journey that exposes them to the truth of their parents' beliefs. An encounter with a mysterious refugee forces Lore to rely on a person she has always been taught to hate.
As the Berlin Wall crumbles, Katrine, the daughter of a Norwegian woman and a German occupation soldier, finds her idyllic life disrupted as she refuses to testify a trial against the Norwegian state on behalf of her fellow "war children."
In 1961, the noted German-American philosopher, Hanna Arendt, gets to report on the trial of the notorious Nazi war-criminal, Adolf Eichmann. While observing the legal proceedings, the Holocaust survivor concludes that Eichmann was not a simple monster, but an ordinary man who thoughtlessly buried his conscience through his obedience to the Nazi Regime and its ideology. Arendt's expansion of this idea through her resulting New Yorker articles would create the concept of the "Banality of Evil" that she thought even sucked in some Jewish leaders of the era into unwittingly participating in the Holocaust. The result is a bitter public controversy in which Arendt is accused of blaming the Holocaust's victims. Now, that strong willed intellectual is forced to defend her daringly innovative ideas about moral complexity in a struggle that will exact a heavy personal cost. Written by
Kenneth Chisholm (firstname.lastname@example.org)
Folks, this is what Philosophy is all about: taking a stand which is not always popular and being able to justify it for the ages. Hannah Arendt is only in this century beginning to receive her due as the most perspicuous political philosopher of the 20th century. After all, it was Ms Arendt who first observed that post-Hiroshima, a conventional war could never again be fought and won. But rather, all pre-emptive invasions who devolve into occupations - that rather than full-scale war or revolutions - the world would sink increasingly into a mire of entropic violence. Her controversial thesis in Eichmann In Jerusalem - yet another masterpiece of at least five in her canon, is that mass atrocities are not committed by idiosyncratic madmen who erect vast engines of evil in which the followers (citizens of the state) serve as the 'cogs' but rather the architectonic of evil consists in the actions of rather ordinary people who for various reasons and rationalizations refuse to think about the ramifications of what they're doing. I mention this point because I've studied Ms Arendt's work for over three decades, lived in Greenwich Village when she was teaching at the New School, and when I saw the film premiere at the Santa Barbara Film Festival this past January I felt that most of the scant audience did not get the point any more than her contemporaries. The film-making is excellent. To dramatize philosophic ideas is challenge in itself. Von Trotta, in the old European style, makes her films with a regular group of actors, and, while the performances were effective throughout, in real life, Hannah Arendt was not nearly so physically engaging and Mary McCarthy quite a bit more which, I believe had something to do with the development their respective moral characters. All in all, a great, not merely a good, film and one of the few worth seeing thus far this year unless, of course, the attributes of fast and furious 6 or iron man 3 overwhelm.
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