“The bear leaves Berlin. It is fed up with its city. On the way two Russian ladies, Anna and her daughter Arisha, hire him as a driver. They are joined by a Santa Claus who despises Christmas and a Vietnamese family who are on their way to the sea. They sing a song together, The Weeping Song by Nick Cave. And they are out to find a stone ring that is buried on the beach. The film was commissioned by a Japanese car museum. There you could see the film with six smells (!), sitting on car seats that would tilt in corners and shake on cobble stone pavement. This small film saved a big one’s life: FARAWAY, SO CLOSE! could not have been finished for financial reasons if this opportunity to make a short film with the same team had not arisen. That is how we financed the last week of shooting FARAWAY, SO CLOSE!.”

Documentary about the rock group BAP from Cologne in Germany.

Hirayama is content with his life as a toilet cleaner in Tokyo. Outside of his structured routine, he cherishes music on cassette tapes, books, and taking photos of trees. Through unexpected encounters, he reflects on finding beauty in the world.

In Hollywood, the lives of a successful film producer, his wife, a police detective and a surveillance agent intersect after a botched abduction.

2008 film by Wim Wenders

Wenders' first full-length film was produced as his graduation project at the Academy of Film and Television in Munich ("Hochschule für Fernsehen und Film München") which he attended from 1967 to 1970. Shot in 16 mm black and white by subsequent long-time Wenders collaborator Robby Müller, the movie exhibited many of Wenders' later trademark themes of aimless searching, running from invisible demons, and persistent wandering toward an indeterminate goal. In this case the journey is that of protagonist Hans (Zischler) after he is released from prison. Searching through seedy West German streets and bars, he finally winds up visiting an old friend in Berlin.

2008 anthology film by 8 different directors

A man and a woman share their musings on love and freedom one summer night. The couple’s conversation meanders through memories, unspoken desires and passion through poetic dialogue.

An anthology film following different stories around the theme of invisibility in the modern world

Pope Francis responds to questions from around the world, discussing topics including ecology, immigration, consumerism and social justice.

1989 film by Wim Wenders

"Actually, Schauplätze didn’t get lost completely. Two shot were left, and they’re now the first two shots in Same Player Shoots Again. In a way, they’re a prelude to it – or rather its antecedents. They come before the credit title. And the rest of the film, after the title, is just one three-minute shot that’s repeated five times. It was shot in black-and-white and its repeated five times, but always in a slightly different color. I mean its not really colored, just a little bit blue and a little bit red and a little bit green along the street." "At first, you only see his feet. He’s wearing a long coat, and later you can see up to his waist. He has a machine-gun in one hand and he begins walking fast, then he slowly begins to run and he stumbles more and more, as if he were hurt or wounded. He doesn’t actually fall. You just see him running. You see the coat and the machine-gun and his feet. And in the end, the film starts again from the beginning. Its somewhat different from those loop films that were in vogue at the time – those were without an end and you could watch them indefinitely. Whereas in Sam Player Shoots Again, there was a development and there was a new beginning each time." "For me, it had a lot to do with pinball machines – I mean a game where you have five balls (you used to have five balls, now you only get three). At the time, you had five balls and five games, and that’s a little bit the structure of Same Player Shoots Again. Visually, its as if you had five balls. In fact, that was the idea, to edit it this way. It had some music, too, music I found on an old 78 record that was called Mood Music ad it sounded like music from an unknown Hitchcock film. I used two small pieces of it – one of 10, and one of 15 seconds, one in the beginning of the shot and one at the end – that is to say – the two pieces of music were repeated as well."

2004 film by Wim Wenders

Director 'Nicholas Ray' is eager to complete a final film before his imminent death from cancer. Wim Wenders is working on his own film Hammett (1983) in Hollywood, but flies to New York to help Ray realize his final wish. Ray's original intent is to make a fiction film about a dying painter who sails to China to find a cure for his disease. He and Wenders discuss this idea, but it is obviously unrealistic given Ray's state of health.

"My next short was Silver City – it, too, had an English title and consisted of eight shots. Each shot was as long as a 30-metre roll, so it in fact lasted a little more than three minutes. And all of the shots were long shots, extreme long shots. And they were all done from the third, fourth, or fifth floor of the apartments where I lived at the time. (I used to change apartments rather frequently.) And they all showed streets or crossings, first very early in morning, at three or half past three when they were completely empty, and the lights were turning from green to red to green again, when there were no cars or anything crossing the streets, and with that morning light where everything is blue. And I used to shoot them even without cutting the ends off the 30-metre rolls – at the end, the image would be turning yellow or red or quite simply white. I didn’t cut anything away." "The second half consisted of shots in the evening, sometimes of the same places, the same streets, but with heavy evening traffic going out of the city. The film again used Mood Music, other pieces this time – each 20 seconds long and each repeated three times. The film was extremely contemplative. It was really like standing at a window and looking down on the streets, either completely empty or, on the contrary, completely stocked. Only in the very first shot was there anything like a hint of a story. The very first shot was of a railway line – just an empty landscape, very early in the morning, too, and after two minutes of a completely empty shot, someone crosses the rails from one side of the frame, and leave the frame on the other. Immediately after he has crossed the rails, the train appears: that is to say – the camera is very close to the rails and – bang – the train is in the shot, and he passes, and slowly disappears in the distance. You get the impression that maybe it’s the start of some kind of story, but nothing happens until the end. Just the empty streets, and the views out of the windows." " I’m not sure why I called it Silver City. I still think it expresses the mood of the film very well – just the sound of the two words. Maybe it’s the alliteration that makes it. I don’t know."

Wim Wenders looks at the dramatic tension in the blues between the sacred and the profane by exploring the music and lives of three of his favorite blues artists: Skip James, Blind Willie Johnson and J. B. Lenoir. Part history, part personal pilgrimage, the film tells the story of these lives in music through an extended fictional film sequence (recreations of '20s and '30s events - shot in silent-film, hand-crank style), rare archival footage, present-day documentary scenes and covers of their songs by contemporary musicians such as Shemekia Copeland, Alvin Youngblood Hart, Garland Jeffreys, Chris Thomas King, Cassandra Wilson, Nick Cave, Los Lobos, Eagle Eye Cherry, Vernon Reid, James "Blood" Ulmer, Lou Reed, Bonnie Raitt, Marc Ribot, The Jon Spencer Blues Explosion, Lucinda Williams and T-Bone Burnett.

Lisbon Story is Wim Wenders' homage to Lisbon and films. A sound engineer obtains a mysterious postcard from a friend who at the moment is filming a film in Lisbon. He sets out across Europe to find him and help him.

Tom Ripley, an American who deals in forged art, is slighted at an auction in Hamburg by picture framer Jonathan Zimmerman. When Ripley is asked by gangster Raoul Minot to kill a rival, he suggests Zimmerman, and the two, exploiting Zimmerman's terminal illness, coerce him into being a hitman.