This is the story of Sylvia, who looses her stepchildren on a shopping trip in Poland. For fear of loosing her husband's love, too, she is unable to tell him what has happened and returns home, pretending anything is fine. When realising the missing of his children, the father starts a desperate retrieval. He is ready to give up anything in order to find them.
A high-flying corporate bigwig meets his match in Christoph Hochhäusler's tense drama set in the upper echelons of Frankfurt’s banking sector. It’s a malevolent world of high finance and corporate malfeasance, in which dour men sit around gargantuan tables in penthouse boardrooms plotting the takeover of rival firms. The dourest of all is the reptilian Roland Cordes (Robert Hunger-Büehler) who, at the outset of the film, seems to have lost some of his appetite for conquest.
Christoph Eschenbach is one of today’s foremost conductor-pianists. This fascinating retrospective focuses on his brilliant early career as a pianist, when his searching musical intelligence, formidable technique and enthusiastic engagement with the music of his, and our, time produced many recordings that have stood the test of time.
Tigran Mansurian's music is rooted in Armenian folk and church music filtered through contemporary Europeans, especially Bartók. In many respects he resembles other post-Soviet composers like Schnittke and Svirdov, sharing their combination of elusiveness and accessibility. Kim Kashkashian has long championed his works, and the outstanding violist is superb here. She's the center of gravity in the Viola Concerto, titled "…and then I was in time again," a quote from Faulkner and resembling his stream-of-consciousness style. The complex interplay of soloist and 18 strings fascinates, the two going their own ways and coming together again in unpredictable fashion but always to expressive effect. It's in two movements, the first more dramatic, the second poignant. In Lachrymae,.. –Dan Davis