FILMOGRAPHY

  • Filmografi / Filmography

    1967 Schauplatze (kısa / short)
    Aynı Oyuncu Yine Atıyor (Same Players Shoot Again) (kısa / short)
    1968 Silver City (kısa / short)
    1969 Alabama (kısa / short)
    3 Americanische LP’s (kısa / short)
    Polis Filmi (Polizeifilm) (kısa / short)
    1970 Kentte Yaz (Summer in the City)
    1971 Kalecinin Penaltı Anındaki Endişesi (Die Angst des Tormanns beim Elfmeter)
    1972 Kızıl Harf (Der scharlachrote Buchstabe)
    1974 Alice Kentlerde (Alice in den Stadten)
    Aus der Familie der Panzerechsen Die Insel
    1975 Yanlış Hareket (Falsche Bewegung)
    1976 Zamanın Akışında (Im Lauf der Zeit)
    1977 Amerikalı Arkadaşım (Der Amerikanische Freund)
    1979 Suda Parıltılar (Lightning Over Water)
    1982 Ters Açı (Quand je m’eveille) (kısa / short)
    Olayların Akışı (Der Stand der Dinge)
    1983 Hammet
    1984 Paris-Texas
    Oda 666 (Chambre 666) (kısa / short)
    1985 Tokyo-Ga
    1987 Berlin Üzerindeki Gökyüzü (Himmel über Berlin)
    1989 Şehirler ve Giysiler Üzerine Notlar (Auszelchungen zu Kleidem und Stadten)
    1991 Dünyanın Sonuna Kadar (Bis and Ende der Welt)
    1993 Arisha Der Bär und der steinerne Ring
    Çok Uzak Fazla Yakın (Far Away so Close)
    1994 Bulutların Ötesinde (Par delà les nuages)
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    1994 Lizbon Hikayesi (Lisbon Story)
    1995 Skladanowsky Kardeşler (Die Gebrüder Skladanowsky)
    1997 The End of Violence
    1998 Willie Nelson at the Teatro
    1999 Buena Vista Social Club
    2000 Un matin partout dans le monde (kısa / short)
    U2: The Ground Beneath Her Feet (kısa / short)
    Sırlar Oteli (The Million Dollar Hotel)
    2002 Viel passiert – Der BAP-Film
    Ten Minutes Older
    U2: The Best of 1990-2000
    2003 Other Side of the Road (kısa / short)
    The Soul of a Man
    2004 Bolluk Ülkesi (Land of Plenty)
    2005 Don’t Come Knocking
    2007 Invisibles
    Chacun son cinéma ou Ce petit coup au coeur quand la lumière s’éteint et que le film commence
    2008 Palermo’da Yüzleşme (The Palermo Shooting)
    8
    2010 Il volo (kısa / short)
    If Buildings Coulda Talk (kısa / short)
    2011 Pina
    2012 Mundo Invisível
    2014 Cathedrals of Culture
    Toprağın Tuzu (The Salt of the Earth)
    2015 Her Şey Güzel Olacak (Every Thing Will Be Fine)
    2016 Les beaux jours d’Aranjuez
    2017 Derin Sular (Submergence)


  • FILMS SHOWN IN FESTIVAL ON WHEELS

  • Alice in Cities
    (Alice in the Cities)
    Propeller Bird
    (THE PROPELLER BIRD)
    Cathedrals of Culture
    (Cathedrals Of Culture)
    The sky over Berlin
    (The sky over Berlin)
    Again, the same players Ahead
    (Same Player Shoots AgainSAME PLAYER SHOOTS AGAIN)
    Silver City
    (Silver CitySILVER CITY)
    Alabama: 2000 Light Year
    (Alabama: 2000 Light YearsALABAMA: 2000 LIGHT YEARS)
    Police Film
    (Police film)

Wim Wenders

The first thing that everyone says about him is that he belongs to the “new German cinema”; the second is that he has mastered very well afilm language oriented toward the American cinema. The lightning-quick career he’s made, the rapidity of his recognition, is due to his ability to couple his films to various highly contemporary trends. He has supplied the audience with what it already knows and likes – American pictures. To young goers he offers pretentious attitudes and restless, empty human figures, full of doubt; to post-industrial society sad and pretty films without social or political significance, a kind of film that reaches the eyes and the heart without disturbing the mind.

The films of Wenders live by static, perfectly composed, arresting, and strong imagery. The story of a film plays no important role for him.

Thus Wim Wenders, both to his advantage and his detriment, belongs to the modern film, to cinema at the end of the seventies. He is the typical representative of filmmakers who find their creative inspiration not in reality, but ultimately in the cinema itself. His world had been the old Hollywood films, where he learned to compose his images: he doesn’t shoot everything that comes in front of his camera, but only those snippets of reality that correspond with something in his film memory.

After the foundations of his fimmaking were laid, and having received remarkably rapid recognitions, Wenders sought to advance his career in the US. and was invited by Francis Ford Coppola to make a film at Zeotrope studio. Thus began a painful time for Wenders, a series of disillusioning experiences, which he immediately knew to note down, and later, with his own resources,used to make “Der Stand der Dinge”: a film about the realisations of a filmmaker who is forced to give up his belief in the magic film land of America. The sincerity we feel in the truthful experiences worked out in the film brought Wenders the Golden Lion at Venice in 1982, a confirmation of his European identify as an artist.