On weekends, the farm of a young family becomes the meeting place of a large circle of friends. The impetuous group of children develops its own, childishly brutal dynamic. Power games and a constant struggle for strength drive them on. Thus, they engage in war games, shoot at each other, trick each other and make fun of each other. Nine-year-old Moni, the youngest of the group, is at the bottom of the socio-dynamic food chain. The attraction to her older sister's friend and the question of whether her father is really Moni's father form the background noise of a weekend that seems to stretch on for an eternity. A film about the painful beauty of growing up.

Three young cinema enthusiasts go on a road trip and visit different cinemas to save old, analog technology. In the process, the very own and soon forgotten stories of the cinema operators from that time come to light again. The result is a special snapshot of cinema, ten years after digitalization, in the middle of a pandemic, with many stories from the "good old days" and yet not just nostalgia. With the worries about the uncertain future of cinema, but also the confidence of many passionately active cinema people. And also a portrait of three anachronistic young people who, in the year 2020, are still completely burning for the long-dead analog cinema and therefore, against all the spirit of the times, are bringing the old back to life. The title "This is not the End" alludes to the core idea: Analog cinema will not completely end as long as there are still people who continue to deal with it, not only conserve it but continue to use it.

Mankind has 8 minutes left, then the Earth will be wiped out. Escape is impossible. In the last heat years before the death of the sun, the remnants of humanity have fled under the surface of the earth. Connected to the "dream machine" that can simulate any fantasy and stretch the perception of time, the physical world has been replaced by the digital world. Here the last 8 minutes become 12 000 years.David and Lena are lovers in this simulated world. After a solar storm by burning David's body, Lena starts an image of David's consciousness, but the backup is faulty and confused.

Experience the adventurous, thrilling, and dramatic tale of a... groper. Martin (Werner Enke) drifts through life, spouting pseudo-philosophical one-liners and living in the moment. He collects potatoes and stones that resemble the heads of friends and acquaintances, idolizes "the father of Balzac," who supposedly spent 20 years in bed, and asks a girl he picks up at the swimming pool whether she could “support” him—before inviting her into his own bed. His motto: “It’s going to end badly...” But then Barbara (Uschi Glas) enters the picture and turns his world upside down.
Zur Sache, Schätzchen became an unexpected box office hit and is considered the most successful film of the Schwabing film scene and the New Munich Group. It was a bold slap in the face to the self-righteous postwar society and the ideology of the economic miracle, to the emerging sexual revolution, and to Munich’s smug film and pop culture scene. At just 26, May Spils became the first female director of the postwar generation to present a comedy that cheekily captured the spirit of the times—and still feels fresh today.

On the way to a live performance in a London television studio, the four Liverpool musicians John, Paul, George and Ringo get into a series of absurdly funny situations. Their long-suffering manager Norm has his hands full protecting the four Beatles from a pack of screaming fans and fanatical journalists. But in addition to their two managers, the Beatles are also accompanied by Paul’s grandfather, and he’s in a big mood for a party.

Linda and Chad, two not-so-clever employees of a Washington gym, one day get their hands on a mysterious CD-ROM. It turns out that it belongs to former CIA employee Osborne Cox and contains supposedly explosive information about the US secret service.

Alvy meets Annie at a tennis doubles match to which a friend invites him. The young man is immediately taken with her and after some bumpy small talk, she invites him to her home. The two begin a relationship and seem to get along unusually well, but Alvy’s neurotic nature and Annie’s drive for a free, self-determined life soon lead to irreconcilable differences in their relationship.

Monsieur Hulot, a bourgeois petty bourgeois, drives to Brittany in his ancient car to enjoy his well-deserved vacation. He finds a room under the roof in a small boarding house and from then on tries hard to entertain the other guests and arouse their interest. He is particularly taken with young Martine, whom he shyly courts. But all his further efforts to find company among the guests cause misunderstandings and disasters.

Mike and Scott work as street hustlers in Portland. While the amiable Mike grew up in difficult circumstances and has not seen his parents for years, Scott comes from one of the most respected families in the city and rebels against his father. In search of Mike’s mother, the two travel to Europe, where their intimate friendship is shattered.

Uncle Boonmee has returned to his home in northeastern Thailand to die in peace. As he sits on the porch in the evening with his sister-in-law and nephew, they are joined by his wife, who died 19 years ago, and the ghost of his son Boonsong. Together with them, Boonmee makes his way to his origin, a cave.

François, a worker in an iron foundry, has shot a man. As day dawns, the police have already surrounded the house and cordoned off the street. François locks himself in the attic and reviews the events leading up to the fatal shooting: François had fallen in love with Françoise, a flower seller. One evening he secretly follows her and observes that Françoise is having an affair with Valentin.

After ordering enough typewriting paper for 40 years, just to get discount, Heinrich Lohse is forced to retire.

After pulling off a bank robbery two bandits meet in a deserted mining town to divide their loot but an old miner tries to steal it from them.

A cross-country trip to sell drugs puts two hippie bikers on a collision course with small-town prejudices.

A lovable vagabond falls in love with a blind flower seller and does everything he can to help her. Slapstick and tender moments alternate with observations of the bustling city life, all without a single spoken word. Chaplin’s famous dictum, that a film is like a tree—you have to shake it so that everything superfluous falls away and only the essential form remains—is perhaps most beautifully realized in City Lights.

Long after sound films had taken over the market, Chaplin deliberately stuck to the silent film format and expanded it with sound effects and music that he composed himself. The combination of choreographed, physical comedy and emotional depth, the shift between laughter and seriousness, makes it clear just how much Chaplin’s work relies on nonverbal communication, rhythmic movement, and the art of pantomime. Qualities that continue to inspire to this day! Though not a debut, this is the first film we’ve shown in the Blue Salon, marking our tenth anniversary!

Two families embark on a pleasant Sunday picnic but manage to run into a variety of issues with their temperamental automobile. Each incident requires repeated exits and reboardings by Laurel, Hardy, their wives and grouchy, gout-ridden Uncle Edgar.

The Man With No Name enters the Mexican village of San Miguel in the midst of a power struggle among the three Rojo brothers and sheriff John Baxter. When a regiment of Mexican soldiers bearing gold intended to pay for new weapons is waylaid by the Rojo brothers, the stranger inserts himself into the middle of the long-simmering battle, selling false information to both sides for his own benefit.

The film describes the everyday life of fishmonger Teddy Schu. In order to keep himself and his wife Jaqueline afloat, he also has to work for the agency Señora Fuck under the name Rodriguez Faszanatas as a man for certain hours as well as a newspaper delivery man in the early morning hours. In the evenings, he sometimes meets with a homeless man without a name, who has lost his memory, under a bridge and philosophizes about the hopelessness of everyday life.

Harold is very inventive when it comes to his hobby: staging his suicide - on a rope, in a pool, in a massacre, by explosion. The main beneficiary (as his psychiatrist puts it) is his rich and domineering mother. His second hobby is no less morbid: he attends funerals of people he doesn't know. He shares this predilection with Maude, who is by no means morbid but extremely fun-loving. A love story develops between the two. By the way, she is sixty years older than him.

Jake Blues, just released from prison, puts his old band back togther to save the Catholic home where he and his brother Elwood were raised.