He is the most sought-after man in Europe in the 1960s. Lex Barker embodies the flawless hero in his films and, as Old Shatterhand, becomes a role model for generations of fans. Revered in Europe, misunderstood and almost forgotten in his native America. But who was this American who rode through Yugoslavia in a leather costume for the European audience? In 1973, Lex Barker died of a heart attack on the streets of Manhattan in New York. But no one recognizes the man who was Tarzan in Hollywood. Nobody knows him or cares about that he, as Winnetou's friend, is revered as an icon in Europe. Lex Barker's European western adventures are just a footnote in American film history. On the occasion of the 50th anniversary of his death, the documentary tells the story of one of the most beautiful men who ever flickered across Europe's cinema screens, for whom European cinema proved to be a stroke of luck and for whom a failed Hollywood career took him via Italy to Germany.
Andreas G. Wagner
Director
Lex Barker
Self - Portrait Subject (archive footage)
Carmen G. Cervera
Self - Interviewee
Karen Kondazian
Self - Interviewee
Matthias Wendlandt
Self - Interviewee
Brett Halsey
Self - Interviewee
Clemens Meyer
Self - Interviewee
Wolfgang M. Schmitt
Self - Interviewee
Christopher Barker
Self - Interviewee
Reiner Boller
Self - Interviewee
Elisabeth Bronfen
Self - Interviewee
Jan-Christopher Horak
Self - Interviewee
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
In Tall Girl, Jodi learns to stand tall and find confidence within.
Hustlers was meant to be a film about female empowerment. And it was, to a certain extent. I expected and wanted this to be a kickass and complex film of sexy women who use their confidence, skills, and wits towards a brilliant plan to get revenge on the Wall Street guys who wronged them.
The Invite is witty, dramatic, funny, and probably the best comedy released this year so far.
For those tranquil houses with white fences, what is happening behind every closed door?