• Filmografi / Filmography

    1967 locations (kısa / short)
    Same Players Shoot Again (short / short)
    1968 Silver City (short / short)
    1969 Alabama (short / short)
    3 Americanische LP’s (kısa / short)
    Police Film (Polizeifilm) (short / short)
    1970 Summer in the City
    1971 Goalkeeper Concern at Penalty (Die Angst des Tormanns beim Elfmeter)
    1972 Kızıl Harf (The Scarlet Letter)
    1974 Alice Kentlerde (Alice in the Cities)
    From the family of armored lizards The island
    1975 False Movement (Falsche Bewegung)
    1976 In the Stream of Time (Im Lauf der Zeit)
    1977 My American Friend (Der Americanische Freund)
    1979 Lightning Over Water
    1982 Reverse Angle (Quand je m'eveille) (short / short)
    The Flow of Events (Der Stand der Dinge)
    1983 Hammett
    1984 Paris-Texas
    Room 666 (Chambre 666) (short / short)
    1985 Tokyo-Ga
    1987 Sky Over Berlin (Himmel über Berlin)
    1989 Şehirler ve Giysiler Üzerine Notlar (Disclosures on clothes and cities)
    1991 Until the End of the World (Bis and Ende der Welt)
    1993 Arisha The Bear and the Stone Ring
    Far Away so Close
    1994 Beyond the Clouds (Par delà les nuages)
    1994 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 One Morning Around the World (kısa/short)
    U2: The Ground Beneath Her Feet (kısa / short)
    Secrets Hotel (The Million Dollar Hotel)
    2002 A lot happened - The 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 Land of Plenty
    2005 Don’t Come Knocking
    2007 Invisible
    To each his own cinema or This little heartbeat when the light goes out and the film begins
    2008 The Palermo Shooting
    2010 Il volo (short / short)
    If Buildings Coulda Talk (kısa / short)
    2011 Pina
    2012 Invisible World
    2014 Cathedrals of Culture
    The Salt of the Earth
    2015 Everything Will Be Fine (Every Thing Will Be Fine)
    2016 The beautiful days of Aranjuez
    2017 Deep Waters (Submergence)


  • Alice in Cities
    (Alice in the Cities)
    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.