Robert Fischer

Good Times: Dominik Graf on Directing the Cat

Jenseits von Gut und Böse: Christoph Fromm über 'Die Katze'

Alles auf eine Karte: Georg Feil über 'Die Katze'

Le Cinéma en jeu: L'Amour fou de Jacques Rivette revisité

Jack Arnold Remembers The Incredible Shrinking Man

Ganz Berlin lacht sich kaputt: Wie die 'Berliner Ballade' entstand

The Beauty of the Land: Anthony Slide on Andre De Toth and the Indian Fighter

Core of Reality: Robert Blees on Douglas Sirk’s Magnificent Obsession

Illusion of Freedom: Richard H. Kline on John Frankenheimer's Birdman of Alcatraz

Painting with Light: Nicholas von Sternberg on Josef von Sternberg

Der Film verlässt das Kino: Vom Kübelkind-Experiment und anderen Utopien

Crazy Love: Janet Bergstrom on Josef von Sternberg's 'Morocco'

Life As It Is: Miloš Forman on Miloš Forman

A Search For Truth: Robert C. Jones On Hal Ashby’s 'The Last Detail'

Program Notes: An Introduction To The Last Detail By Alexander Payne

Sucker Punch Blues: A Look Back on John Huston's 'Fat City'

G.W. Pabst's 'Westfront 1918': An Introduction by Jan-Christopher Horak

G.W. Pabst's 'Kameradschaft': An Introduction by Jan-Christopher Horak

The Beast Inside: Creating 'Wolf'

About a Trip: Alexander Payne on Hal Ashby's 'The Last Detail'

Cop Stories: The Making of Richard Fleischer’s ‘The New Centurions’

Pure Cinema: Joe Napolitano on Brian De Palma's Body Double

Traveling Roadshow

Les Mystères de Paris : "Out 1" de Jacques Rivette revisité

Outer Movement, Inner Movement

Last of the Independents: Don Siegel and the Making of 'Charley Varrick'

Le Poête et le Cinéaste: Volker Schlöndorff à propos de 'Baal'

Love Letters

Return to Beethoven Street: Sam Fuller in Germany

Touching Death: Alejandro Amenábar on 'Tesis'

Perspectives on Othello: Joseph McBride on Orson Welles

Swan Song: The Story of Billy Wilder's Fedora

Real Killer, Fake Nose: Richard Fleischer's 'The Boston Strangler' Remembered

Blood on the Lens: Richard H. Kline on Brian De Palma's 'The Fury'

Rumble on the Lot: Walter Hill's Streets of Fire Revisited

Return to Philadelphia: George Litto on 'Blow Out'

Rag Doll Memories: Nancy Allen on 'Blow Out'

Black and White in Color: Vilmos Zsigmond on 'Blow Out'

A Winter's War: Keith Gordon on 'A Midnight Clear'

Ted Kotcheff's Gourmet Cinema

The Cinema and its Double: Rainer Werner Fassbinder's 'Despair' Revisited

Starting Out: The Making of Jerzy Skolimowski's Deep End

Before Taking Off: Milos Forman’s Road to America

'Deep End': Remembering the Deleted Scenes

Of Love and Constraints

Erinnerungen an 'Väter und Söhne'

Making an American Movie

Beyond Melodrama: Kathryn Bigelow on Douglas Sirk

A Tribute to Douglas Sirk by Allison Anders

Acting for Douglas Sirk

Circles of Desire: Alan Williams on Max Ophuls' "La Ronde"

Contract Kid: William Reynolds on Douglas Sirk

Requiem for a Killer: The Making of 'Blast of Silence'

Ernst Lubitsch in Berlin - Von der Schönhauser Allee nach Hollywood

Eine Zärtlichkeit wie bei Sirk - Todd Haynes über Fassbinder und das Melodram

Dalton Trumbo: Rebel in Hollywood

Kino der Zeichen: Claude Chabrol über Alfred Hitchcock

The Making of Highlander

Maternal Overdrive

Fassbinder in Hollywood

Monsieur Truffaut Meets Mr. Hitchcock

Will He Live or Will He Die: Walter Hill on Southern Comfort

The Fury: A Location Journal

Spinning Tales: Fiona Lewis on Brian De Palma's 'The Fury'

Expedition Amazonia

Kurosawa and the Censors

Daniel, der Zauberer