Master: The Horror of Deceptive Racial Politics in Academia
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”
Friedrichstadtpalast (1980)
In 1980, Wolfgang E. Struck, artistic director of the Berlin Friedrichstadt-Palast, wistfully considers the imminent demolition of his house due to structural deficiencies. Employees rhapsodise about working at this historical stage, where international stars like Louis Armstrong and Juliette Gréco performed. Nearby, construction of the new Friedrichstadt-Palast is starting.
- / 5
PopScore
Representation
Pictures and Videos
Movie Information
In 1980, Wolfgang E. Struck, artistic director of the Berlin Friedrichstadt-Palast, wistfully considers the imminent demolition of his house due to structural deficiencies. Employees rhapsodise about working at this historical stage, where international stars like Louis Armstrong and Juliette Gréco performed. Nearby, construction of the new Friedrichstadt-Palast is starting.
Rating:
Genre:Documentary
Written By:Angelika Andrees
In Theaters:11/16/1980
Box Office:
Runtime:20 minutes
Studio:DEFA-Studio für Dokumentarfilme
Cast
Articles You May Like
In the Long Run, the Answer To COVID Hangover.
A few episodes in, I realized the most prominent theme of In The Long Run wasn't culture, race or even finding independence--but the idea of belonging.
“Spider-Man: Brand New Day” Isn’t Very New
This is a film that is going to leave some people bored, and some people thrilled.
"Maintenance Required" Finds Romance in the Auto Shop
I am shocked and upset to report that the movie about a female car mechanic who meets the love of her life online featuring Katy O’Brien does not, in fact, have a lesbian storyline.
Revisiting Lady Bird - Now on Netflix
Lady Bird (Saoirse Ronan) tells her mother (Laurie Metcalf) that she wants to live through something — something that matters.
Why "The Birdcage" is Still Worth Celebrating 25 Years Later
Perhaps the most amazing and groundbreaking quality about The Birdcage is how removed it is from both illness and insensitivity. Whereas films preceding it were often somber stories about the tribulations of being gay in a conservatively straight world, Nichols and screenwriter Elaine May expose the fallacies of conservatism as traditional values are thrown into a more open-minded space. They don’t care how far the community has fallen so much as how high they can rebuild themselves.