There seems to be no middle ground with comedian Howie Mandell: you either like him or you can't stomach him. North American Watusi Tour was taped in Chicago, at a time when Mandell's comic style had still not completely jelled. Thus, there are as many misses as hits, but if you're a member of the "We Love Howie" camp, you'll be willing to forgive his comic transgressions. The best moments occur when Howie abandons his planned act and schmoozes with the audience. Running a rollicksome 52 minutes, Howie Mandell's North American Watusi Tour was first cablecast in 1986.
This film deals with the contrasts of the Wilhelminian era in Berlin: the splendor of the monarchy, the economic and intellectual vitality of the up-and-coming imperial capital on the one hand, and the misery of the proletarians in the tenements on the other.
Jessica's promising debut as a young artist is shattered by a sudden and violent death. She escapes into a restless succession of journeys whose encounters along the way bring humour, some comfort, but also danger.
Playwright and director Nils Wijn brings his relationship issues to the stage. In his play "The Whore, the Virgin, and the Dying Man," he has his girlfriend Tessa appear in revealing lingerie and takes her to a real prostitute for some practical lessons.
In this film, Humbert is on the trail of his own history. Wolfsgrub is the name of the house where Humbert's mother lives, and though she is getting on in years, she becomes young again as she answers her son's questions.
Imagine a surreal narrative, without dialogue, in a style reminiscent of the 1920s silent era and seen through the lens of moving voyeuristic camera that records the odd whereabouts of an unseemly group of marginal tenants.
Beate Klarsfeld, a German Protestant housewife, who, with the help of her Jewish law-student husband, Serge, begins an unrelenting campaign after World War II to bring Nazi war criminals to justice.
