Harold Nebenzal talks about his career.

Harold Nebenzal talks about Losey’s M.

In retracing the making of FEDORA, Robert Fischer’s documentary SWAN SONG: THE STORY OF BILLY WILDERʼS FEDORA adds yet another layer of comment and reflection on the film’s very own subject matter: 35 years after playing the romantic leads in FEDORA, Marthe Keller and Michael York look back at working with Billy Wilder – and their careers. Additional testimonies come from acclaimed cinematographer Gerry Fisher, producer Harold Nebenzal, Paul Diamond (son of Wilder’s writing partner I.A.L. Diamond), and German actor Mario Adorf.

Film noir, which enjoyed particular success in the 1930s and 1940s, is probably the most profound genre of classic Hollywood cinema. Eckhart Schmidt tries to show the background and developments and speaks, among others, with directors such as Richard Fleischer and Robert Wise as well as with "femme fatale" actresses. Filmmakers of the following generations explain how the style and themes of noir continue to shape cinema today.

This film essay explores the strange case of G.W. Pabst, the Austrian filmmaker who was considered a giant of early cinema before his reputation went behind a cloud.

Based on extensive interviews, shot on 16mm in a series of static long takes, Filmemigration aus Nazideutschland, is one of the most fascinating examples of "Film history on film" ever produced. Straschek devoted years to researching the topic and accumulating both film and non-film materials. Apart from some radio features and articles, however, this 290-minute TV programme remains the only published trace of Straschek's lifelong work on the emigration of film personnel. He had intended to publish a three-volume book, encompassing all available data about 3,000 emigrants originating from the centre and peripheries of film production, but the book never materialised.