Acting
Berlin, an old apartment building between the S-Bahn and the street. Seventeen people live there. The old photographer Kempinski, shrouded in his memories. Hannelore, dreaming of distant lands, temporarily sharing her apartment with her lovesick niece. Bona, who occasionally drinks a beer with his roommate and teaches French in the kitchen. The two teenage sisters with their newly in love mom. The medieval caretaker couple and the young couple whose daughter Paula would rather sit in the stairwell than go to school. On the face of it, they all have nothing in common apart from their home address. The film tells in microscopically accurate, realistic visual language and on changing levels of the common everyday life of small people.
When three estranged friends are entrusted to scatter their friend's ashes in the mountains they met 30 years earlier; they must rediscover a past they've turned their back on, and remember what true female solidarity is all about.
Wed just as war breaks out, Jeanne hardly gets to know her military husband, Louis, before the debacle of 1940. While waiting for his return from a POW camp, Jeanne journeys through countless affairs with Louis' comrades- in-arms. Hoping to forget these wartime betrayls, Louis takes his wife and the infant twins he didn't father to Berlin, where she falls for Matthais, a sensitive German industrialist. When the Indochinese war sends Louis to Vietnam, Matthais follows Jeanne back to France. A subsequent move to Damascus where Louis is posted as military attache, fails to break their bond.
When dutiful and loyal Camille decides to go on a road trip down memory lane with her Alzheimer's suffering father, she must learn to let her father go or risk losing her own chance at a life and happiness.
A hundred years after the theft from New Zealand of three irreplaceable tribal carvings, two members of a Māori tribe decide it's time for ancient grievances to be put right. Variously praised as a major step forward in indigenous cinema, attacked for overambition, and little screened, Te Rua marked Barry Barclay’s impassioned follow-up to his acclaimed debut feature Ngāti.
