Dr. Mabuse the Gambler, directed by Fritz Lang, “was a lightning bolt that crackled across the stormy sky of Weimar Germany.” You have the time, says J. Hoberman, give it a try!  (The New York Times, 5/6/20)

Berlin’s Windowflicks project “is redefining the term ‘home cinema’ by bringing together local communities at a time of isolation, through the power of film.”  (The Guardian, 5/7/20)

“What happens to people when they are being denied the right to unconditional love?” Nora Fingscheidt’s System Crasher, about a troubled child in a troubled system of care, has swept the 2020 German Film Awards.  (The Guardian, 3/4/20; New Statesman, 3/25/20; Deutsche Welle, 4/25/20)

Babylon Berlin is back! Germany’s “first TV blockbuster of the streaming era returns for its third season, promising more murder and mystery in the turbulent days of the Weimar era.”  (The Guardian, 12/19/19; The Guardian, 4/10/20)

“Part scary movie, part avant-garde, part Surrealist fever dream, Caligari still feels profoundly modern.” Robert Wiene’s silent masterpiece The Cabinet of Dr. Caligari opened in Berlin on February 26, 1920. (The Conversation, 2/25/20)

“Lacking the nail-biting suspense that the story would seem to call for, Balloon quickly deflates.”  (The Wrap, 2/19/20; The Hollywood Reporter, 2/20/20)

Heimat Is a Space in Time, a meditation on Germany and filmmaker Thomas Heise’s own family history, “is a dreadfully German piece of work. That is part of its power.”  (The Hollywood Reporter, 9/5/19; The Guardian, 11/21/19)

Lotte Reiniger created more than 70 silhouette animation films in a career that spanned 60 years.  (The New York Times, 10/16/19)

“The question of how much and what kind of fun it’s permissible to have with Nazis never goes away, and the resurgence of right-wing extremism around the world makes the question newly uncomfortable.”  (Slate, 10/14/19; The New York Times, 10/16/19; The Washington Post, 10/20/19)