Angela Schanelec

A family spends three summer days in a beautiful lake mansion close to Berlin. Together with her new lover, Irene visits her brother Alex, who still inhabits the house with Irene's writer son Konstantin. Konstantin's girl-friend pops in, too, and all of them drift away from each other more and more.

A young photographer has fallen in love with his girlfriend's sister, throwing the trio into chaos.

This somewhat superficial historical drama is about the 1525 Peasants' War in Germany when the lower classes rebelled against oppressive conditions imposed by the clergy and nobility and then committed many acts (including atrocities) that did not morally set them far apart from the people they were fighting. It was a time of upheaval: Martin Luther (1483-1556) had broken away from the Catholic Church, calling for reform, and Anabaptists in Germany, like Thomas Munzer fought on the side of the peasants (opposed by Luther). This complex age and its political and religious turmoil are summed up in a story about an attack on a small monastery whose monks used a forged document to confiscate some land from the peasants. When their wrong-doing is revealed by the monk who forged the document in the first place, the peasants attack.

A woman faces a variety of emotional crises as she spends the summer interacting in various ways with friends, family, and lovers.

Can and his girlfriend, Jale, live with their young daughter, Meral, in a tough Turkish neighbourhood of Berlin and barely manage to scrape enough money together for their existence. Can is a small-time dealer and errand-boy for drug boss Hakan, who has to keep his customers supplied within his narrowly staked out territory. Jale, who works in the ware-house of a department store, has been pressing Can to give up this activity. Can, also fed up with his situation, sees a bright new beginning for himself and his family when Hakan offers him the prospective chance to run a bar on his very own. But Can has little control over the pressures that gradually begin to build up around him and soon finds himself floundering in quicksand.

Die UFA, a film essay about the eponymous German studio.

Guest of honor at the 31st edition of FID Marseille, German director Angela Schanelec gave a master class this summer, hosted by editor Marie Hermann and critic Cyril Neyrat. It was an opportunity to discover the work of this filmmaker from the German New Wave.

Nadine is obsessed by a memory linked to a haunting tune she can no longer sing, until she hears someone else singing and everything falls back into place again. A melancholic observation of two young couples having difficulties trusting one another. They are full of skepticism and searching for a purpose in life.

A Glasgow woman inherits a house in Berlin and has her eyes opened

The aristocratic families of Rossitz and Warwand, who are relatives, have started to treat each other with mistrust and hatred, since a testamentary contract has stated, that the complete goods will be inherited to the respective surviving line. At the same time the young generation is in love, how can the tender ties between Agnes of Warwand and Ottokar of Rossitz be protected? Killed by their own fathers, they lie in their blood. A radical drama about the term "family". (www.filmgalerie451.de)

A character study as well as a meditation on communication, creativity, and physical space, Take What You Can Carry is a picture of a young woman seen through the interiors she occupies and the company she keeps. A North American living abroad, Lilly aspires to shape an intimate and private place of her own while connecting to the world around her. When she receives a letter from home, it provides the conduit she needs to fuse her transient self with the person she's always known herself to be.

Two sisters try to manage life alone after their mother's accident.

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Angela Schanelec discussing her movies.

A story told in the off about the growing discomfort towards the new roommate Valentin. The camera pans through the empty room, over the shadows on the wall and the wallpaper, the yellow scarf and the postcard from Italy with the sunflowers