1918. Thousands of volunteers hurry to defend a nascent Republic of Estonia against the advancing enemy from East and South-East. Among others three brave young men - a student, a blacksmith and a farmhand - enlist to the Estonian People's Army. Three of them go scouting together and shoulder by shoulder they fight in battle. With strenuous effort the enemy's overwhelming contingent is pushed back. The farmhand falls as a hero, while the battle-hardened blacksmith and the student return home. The reconstruction of the young republic begins.
Four war-veterans, from different sides, step onto a boat at the mouth of the Kwando river, deep within the African interior. They are on a journey back to the battlefield, the site of the last "great" battle of the Cold War - its inconclusive and a very secret Armageddon, where they as youngsters, once tried to kill each other. But now, twenty years later, they've come together as former enemies, a new unit of disparate souls joined together not only by the common haunting of war trauma, but also by their need to understand, to reconcile, to forgive.
The story of the film is about the Gallipoli Campaign during World War I on the Gallipoli Peninsula in Turkey in 1915. The film covers the resurrection of Turkey following its defeat in the Balkan War, through depictions of Sergeant Mehmet Ali (Ali Ersan Duru) from Biga, Corporal Seyit and many others. To help Russia and threaten Constantinople, the Allies try to force through the Dardanelles Straight with a large fleet. Through a series of historical sketches, the film documents how they were defeated despite many difficulties and hardships.
The story of the Opium War between China, in the waning days of the Qing Dynasty, and the British Empire, in the 1830s, and the subsequent takeover of Hong Kong by Britain; through the eyes of the key figures, fiercely nationalistic Lin Zexu, and opportunistic British naval diplomat Charles Elliot.
Based on a switched identity, in circumstances that are found in real life as well as fiction, this drama tells the story of two soldiers fighting together in World War I. Karl (Joachim Latsch) and Richard (Hans-Use Bauer) become close friends while serving time in a German POW camp. One day Karl manages a successful escape and goes to Richard's home where he seeks refuge posing as Richard. But Richard's wife Anna (Kathrin Waligura) has never given up hope that her husband is still alive -- a possibility that would shatter Karl's proposed new life. In fact, Richard did not die in the POW camp. This film shared the Grand Prix award at the 1985 Berlin Film Festival.
During the military phase of the Meiji Restoration of 1868, Sentaro joins a local militia loyal to the Tokugawa Shogunate in order to fight Imperial troops. But Sentaro's friendship with a pickpocket, who switches sides whenever it suits his needs, leads to complications that could cost Sentaro his life as they infiltrate enemy lines.
When the war breaks out, Annika lives with her parents in Värmland, close to the border to Norway. Her cousin Harald is a dealer in the black market but has to escape from the police to Norway. Annika moves to Stockholm and gets a job as a waitress. She meets the happy-go-lucky Berit and together they have a wonderful time. She also meets a young man, Bengt, whom she marries. But almost immediately she discovers that her husband is different from the man who was courting her. Plot by Mattias Thuresson.
While waiting out World War I in a German POW camp, Captain Fred Allison discovers that his oldest and dearest friend Digby has also been captured and put into the same camp with him. Fred longs for news of his wife, Monica, but Digby speaks little of her. Digby knows a secret about Monica, a secret he must keep from his friend, and it wears at his conscience so much that he attempts a reckless escape.
Based on a true story, Agnus Dei is a kind of Oedipus of our days. Peter must find his way to redemption. But the past will make itself known and fate sparingly gives mercy. Can he save himself, or even be saved at all?
China 1839. Because the British imports of opium into Southern China are creating such widespread medical and economic problems, the weak Manchu emperor Tao Kuang is forced to take action that precipitates the 'Opium War'.
In December of 1944, Lionel Evans, an internationally renowned American conductor, is on a USO tour with his 70-piece symphony orchestra in newly-liberated Belgium. While fleeing from a German counterattack, Evans and his orchestra members are captured by a Panzer division and taken to an old chateau in Luxembourg. Despite orders to execute every prisoner, General Schiller, an avid music lover, commands Evans to give a private concert for him.
In a losing war for a nameless cause a soldier is sent to the combat zone to deliver a message from high above to the officer in charge. His mission proves to be harder than anticipated since the havoc has apparently dissolved any vestige of order or structure and every man seems to be fighting for himself. The soldier remains unyielding in his quest however; confident in the importance and relevance of the message he carries, hoping that it will contain vital information that will save his life and his comrades. But he might be in for a big disappointment...
Militainment, Inc. offers a fascinating, disturbing, and timely glimpse into the militarization of American popular culture, examining how U.S. news coverage has come to resemble Hollywood film, video games, and "reality television" in its glamorization of war. Mobilizing an astonishing range of media examples - from news anchors' idolatry of military machinery to the impact of government propaganda on war reporting - the film asks: How has war taken its place in the culture as an entertainment spectacle? And how does presenting war as entertainment affect the ability of citizens to evaluate the necessity and real human costs of military action?
It is one of the most stirring animated films in the history of animation. In a simple, but powerful way Czekala presents a horror that happened in concentration camps – prisoners’ dread, humiliation and lost humanity. The everyday roll-call ends tragically because of prisoners’ “insubordination” in this black and white film. The Roll-Call crossed borders of what can be presented or not in animation. It is sometimes interpreted as a response to the trend of allegorical and philosophical films that dominated in Polish animation in 1960s.