24 hours: One day ? one night. One fight. At Mark?s farewell party everything collides: aspirations, fears, desperation, sex, intoxication and reality. The film depicts a group of teenagers in a desolate American suburb striving for acknowledgment, love and security. Each day they have to struggle for their future in a world that doesn?t grant them a chance. In the course of the next 24 hours everything is going to change for some of them. An up-and-coming film by two-time German Film Prize nominee Holger Ernst.

?Cinema is the ultimate pervert art. It doesn?t give you what you desire - it tells you how to desire? - Slavoj Zizek

THE PERVERT'S GUIDE TO CINEMA takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves.

THE PERVERT'S GUIDE TO CINEMA offers an introduction into some of Zizek's most exciting ideas on fantasy, reality, sexuality, subjectivity, desire, materiality and cinematic form. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. THE PERVERT'S GUIDE TO CINEMA applies Zizek's ideas to the cinematic canon, in what The Times calls 'an extraordinary reassessment of cinema.'

The film cuts its cloth from the very world of the movies it discusses; by shooting at original locations and on replica sets, it creates the uncanny illusion that Zizek is speaking from within the films themselves. Described by The Times as 'the woman helming this Freudian inquest,' director Sophie Fiennes' collaboration with Slavoj Zizek illustrates the immediacy with which film and television can communicate genuinely complex ideas. Says Zizek: "My big obsession is to make things clear. I can really explain a line of thought if I can somehow illustrate it in a scene from a film. THE PERVERT'S GUIDE TO CINEMA is really about what psychoanalysis can tell us about cinema."

THE PERVERT'S GUIDE TO CINEMA is constructed in three parts. Says Fiennes: 'The form of the Guide is a deliberately open one. There are three parts, but there could be more. Zizek's method of thinking is exciting because it?s always building. Things relate forwards and backwards and interconnect into a mind-altering network of ideas. The film?s title is something of a McGuffin ? just a way to get you into this network.?

Sophie Fiennes received no formal education. She worked as an apprentice to film director Peter Greenaway from 1987 - 1992, managed the Michael Clark dance company from 1992-1994 and began making films in 1999. Fiennes' films play with notions of performance and identity. She is widely acclaimed for her unique observational eye as well as her strong sense of cinematic form. Films include Lars From 1-10 (1999) The Late Michael Clark (2000) Because I Sing ( 2001) and Hoover Street Revival ( which was released theatrically in the UK 2003 by Metro Tartan and Tartan USA ). She received a NESTA fellowship and The Pervert's Guide To Cinema was born out of research during this fellowship period.

"Bernhard Kimmel, head of the infamous Al Capone gang, did not choose which place to burglarize next. He had to figure out which places he had not yet hit. Cracking up to three safes at different locations in the course of one night, Kimmel and his colleagues made fools out of the authorities in post-war Rhineland-Palatinate for years ? living nearly perfect double-lives as god-fearing citizens and productive weavers during the day. When they were finally arrested, it was not for their unparalleled prowess as burglars, but because of an unfortunate, drunken accident that left one innocent man dead.

Director Peter Fleischmann met Bernhard Kimmel just after his release from prison in 1970. He interviewed the newly reformed criminal and struck up a friendship that would be put to the test in 1982, when Kimmel was again arrested: this time for killing a police officer while fleeing the scene of another crime. Fleischmann, who had started out his conversations with Kimmel wanting to know the man behind the local legend, saw his friend sentenced to life-imprisonment.

When Kimmel was paroled after 22 years in prison, the director was finally able to finish the intimate portrait of a man who had spent most of his life behind bars ? clinging to the legend of who he once was and trying to find out how to fit into a world that passed him by.

The result is ?My friend the murderer? ? an astounding and astute meditation on guilt, punishment and friendship."

This forty-minute documentary deals with the thoughts and feelings of teenage Albanian girls who live and go to school in Offenbach, Germany, but regularly return to their homeland, Kosovo, during vacations. The camera follows three sisters - Nagjije (15), Nazmije (16) und Bege (17) ? on one such summer vacation trip. Bege has reached marrying age, and although she?s not sure she?s ready yet, any future husband would have to be Albanian. But none of the girls would want to live in Kosovo permanently. The film masterfully illustrates the conflicts between maintaining one?s cultural roots and the pressure of conforming to the modern world.

"From second half of the ' 60, the Beat movement and the first National Rock were flag of the young people, protagonists like never until then, of a society in transformation towards modernity. The built of the first bands, the scope for the first concerts, the difficulties of the pioneers to be able to sing in Spanish and the communion of the rockers with artists of other disciplines, speak of new codes until then non-existent. Before the boys of the Cave began to write the History of the Argentine Rock, the young people went up to around the 25-35 years. Suddenly they did not arrive at 20, they occupied his space in the press and in the public opinion, and defied the vision that the adults had of them. While the political class failed in the decade of the ' 60, the ""Military Party"" occupied its place and exerted its repressive power against students and unionists, also persecuting to the young people by carrying of guitars and long hair. Some saw to the Rock like ""Foreigner and colonizing"". Today the connoisseurs of the entire world get at Buenos Aires to buy those first vinyls of the Argentine Rock ""because their music and its poetic are absolutely original"". Also there was who read in his speech ""a romantic and unworkable utopia""... Peace and Love. If today we continued yearning for the same, was about an utopia or an idea that not knew/want to interpret? Defendant of apolitical, represented a true cultural resistance the authoritarianism. It is time to review the history of the ARGENTINA BEAT."

"Hern?n M.L.Gaffet (Buenos Aires, 18/01/1964) is graduated like Cinematographic Producer of the CERC, (today ENERC) collaborated like critic of cinema in the magazines ""Cinema in the Culture"" (85-87) and ""Videol?nea"" (93). Like educational,? coordinated the workshop of cinema for adolescents of National School of Buenos Aires (84) and? gave to particular classes of History of the Cinema and Introduction to the Cinematographic Language. Since writer has published the poetry notebook ""Brief Poems"" (85). Author like scriptwriter and director of seven short films. Its first length was documentary the biographical "" Oscar Aleman - Life with swing"", that obtained the Best Prize to the Documentary in the Festival of Latin American Cinema of Trieste, Italy, in the 2002 and Silver Condor to the Best Videofilm in 2003. ""Argentina Beat"" is his second documentary full length film and today rolls his first fiction, the dramatic comedy ""Affection almost Love"". He is cofounder and member of the Directive Commission of the Association of support to the audio-visual patrimony (APROCINAIN, in spanish)."

Santiago has never been the main character of anything... neither of theatre nor of cinema... not even of his own life. But Santiago had never thought that to lodge his thirtyish son Guillermo in his house for some days would change his life so much?.

"Vete de mi" is a "familiar" mask dance, a dance of encounters and mix-ups between two congenital selfish men: a compulsive liar that is able to alter the emotional state of relatives surrounding him, and a supporting actor who has not been successful in his working life and who discovers that his whole life is a lye .., it is a satiric and bitter comedy about how to arrive to our fifties, lose our job and find our son, but desire just the opposite.

V?ctor Garc?a Le?n

He was born in 1976, and although he has a journalistic education, V?ctor Garc?a Le?n has participated like an actor, production assistant, script and camera apprentice in many filming.

He directed the short ?El Gilipollas? (awarded in various festivals). In the year 2001 he directed his first film, called ?M?s Pena que Gloria?, where he was also co-scriptwriter with Jon?s Trueba. This film has participated in many festivals (Chicago, Los Angeles, Toulouse, San Sebastian, Malaga, etc.) obtaining the Best Actor Award in the Malaga Festival

Zingarina arrives in Transylvania, in the heart of Romania, looking for the man she loves. She had met him in France, but one day he left without a word of explanation. With her friend Marie, who jealously watches over her, Zingarina throws her body and soul into a romantic quest and gets caught up in a fascinating land. But when she finds her former lover in the midst of a pagan festival, he brutally rejects her. Mad with anguish, she then flees Marie, who reminds her too much of her past, to fully merge into this new land, Transylvania, where she meets Tchangalo, a loner, a man like her, without borders, without ties.

Born in 1948, French film-maker, born in Algiers, Algeria. Of Gypsy and Algerian descent, his films are concerned with the situation of both these groups and their relations with mainstream society, such as Les Princes (1982) and Gadjo Dilo (1998), portrayed with unflinching honesty and without sentimentality.

2006 TRANSYLVANIA

2004 EXILS

VISIONS D?EUROPE ? Paris by night ? (S?rie Arte)

2002 SWING

2000 VENGO

1999 JE SUIS N? D?UNE CIGOGNE

1998 GADJO DILO

1996 MONDO

1995 LUCUMI, L?ENFANT RUMBEIRO DE CUBA

1993 LATCHO DROM

1990 GASPARD ET ROBINSON

1989 PLEURE PAS MY LOVE

1985 RUE DU D?PART

1983 LES PRINCES

CANTA GITANO (c.m.)

1982 CORRE GITANO (in?dit)

1978 LA TERRE AU VENTRE

1975 LA T?TE EN RUINES

1973 MAX L?INDIEN (c.m.)

"Kristall creates a melodrama inside seemingly claustrophobic mirrored cabinets.

Like an anonymous viewer, the mirror observes scenes of intimacy. It creates an image within an image, providing a frame for the characters. At the same time it makes them appear disjointed and fragmented. This instrument for self-assurance and narcissistic presentation becomes a powerful opponent that increases the sense of fragility, doubt, and loss twofold."

"Christoph Girardet was born in 1966 in Langenhagen and studied in Braunschweig. Between Hanover and Rome, he has been working as a video, film and installation artist since 1987. A selection of his works includes: Schwertkampf (1991), Release (1997), Scratch (2001), Delay (2001), 7:48 (2001), Absence (2002), and Fiction Artists (with Volker Schreiner, 2004), among others.

Matthias M?ller was born in 1961 in Bielefeld and studied in Bielefeld and Braunschweig. He has been working as a filmmaker, video artist, photographer and independent curator since 1981. He is currently teaching at the Academy of Media Arts, Cologne. A selection of his works include: Aus der Ferne ? The Memo Book (1989), Home Stories (1990), Sleepy Haven (1993), Alpsee (1994), Vacancy (1998), nebel (2000), and Album (2004), among others."

"They'll smack your face if they don't like it. Tomorrow is a bad day: Yvonne is

going to prison...

The story takes place during the doldrums between Christmas and New Year?s Eve in a typical West German suburb. Christmas lights still adorn the dull apartment blocks, cheap motels and discount markets as premature fireworks echo throughout the industrial wasteland. Eighteen-year-old Katharina, who has resettled from Russia to Germany, spends her time with Yvonne and the rest of the gang. The girls roam through their territory in search of something. They don?t know what for. But it must be something that will change their lives irrevocably."

?The place is some West German suburb: everything is clean and monotone. It is a place to escape from. But where to? My protagonists look for ways by rebelling with force against the desolation and despair that surrounds them. At heart they are romantics; as little girls they knew they wanted to grow up to be a princess. But they are no longer little girls.? Birgit Grosskopf

Born 1972 in Cologne, Germany. A-levels in 1990. While studying archeology for one year, she also performed at the college theatre. From 1993-96 film and drama studies at Reading University, England. Graduation in 1996: BA (Hons). Work as German teacher at a language school in London. From 1996 on, as a graduate student of film directing and screenwriting at the German Film- and Television Academy Berlin, she shot her first shorts. Work as reader and translator for some prestigious German film companies. ?Princess? is her first feature film.

"Babies in Pockets

(10 min., 16mm, 1998)

The Pilot

(10 min., 16mm, 2000)

Live Boys

(12 min., 35mm, 2001)

Tabula Rasa

(15 min., super 16mmm, 2003,

script with Martina Klein)

Princess

(81 min., 35mm, 2006,

script with Daniela Hilchenbach)"

One day I was suddenly told that my mother had one or two years to live.

In the third years of her illness, I bought a small video camera innocently believing that she would recover.I dreamed of recording her TV or movie-like "miracle" recovery. but the reality of everyday life was nothing more than ordinary routine. All that my small camera recorded were the same things contained in ordinary home videos of ordinary families. On the contrary,as my mother's condition worsened and her suffering and sorrow increased,all I could do was watch over her closely.I didn't have the courage to level my camera at her. When pain and sorrow really started to take hold on my mother,and when she started to die,I was not able to record even a single shot.

It was only after her death that I first found the determination to begin filming.I realized that people left behind by death have to keep crawling forward even as they cry like babies.I also could not accept my mother's death unless I could find something comforting and meaningful in this pain and loss.

All those sad things I couldn't film might have been, in a way, things I didn't need to film, because even now the pain allows me to remember them clearly. More than that, the memories that I hold dear now probably would have slipped away if I hadn't recorded them on video-those monotonous, repetitive, but painful hours with my mother that video had transformed into sweet, gentle, ordinary happiness.

Born in 1966,Kato Haruyo graduated from the Department of Art Science in the Faculty of Art and Design at Tama Art University,and worked as the assistant of a still photographer.After two years with the Black Tent Theater company, her mother's illness brought her back to her hometown.She now lives in Gunma Prefecture.