An elliptical yet emotionally lucid variation on the domestic drama, Schanelec’s latest film—which won her the Best Director prize at the 2018 Berlinale—intricately navigates the psychological contours of a Berlin family in crisis.

Schanelec herself stars in her fifth feature, a characteristically sensuous and tense reworking of Anton Chekhov’s The Seagull, in which an estranged family of artists meets for an increasingly psychodramatic holiday rendezvous.

Chance, emotion, and dreams determine the trajectories of two couples whose lives become unexpectedly entwined in this enigmatic film of mesmerizing shots and indelible gestures.

An apartment swap between a young Berlin-dwelling photographer and a French student sets up a slyly understated narrative experiment in one of Schanelec’s signature films.

In her debut feature, Schanelec paints a love triangle as only she can—with startling clarity of vision, formal precision, and a peerless sense of the moral and metaphysical dimensions of everyday life.

Schanelec crafts a touching and casually gripping work about human connection in her sixth feature, in which the desires and anxieties of a number of strangers come into contact amid the transience of the titular Parisian airport.

Lives intersect as the seasons slowly change in Schanelec’s third feature, a tranquil drama in which moments of tenderness and awkwardness shared by an ever expanding network of Berliners ebb and flow across a summer full of uncertainty and possibility.

Schanelec’s sophomore feature is a singular coming-of-age story, in which a quiet Berlin teenager becomes pregnant on a school trip to Paris and finds the already complicated path from childhood to adulthood growing ever more obscure.

This rare program of Schanelec’s short films follows the director from her earliest films—including her 1994 graduation film, I Stayed in Berlin Over the Summer—through her contribution to the 2014 omnibus film The Bridges of Sarajevo.

Tragedy strikes famous actor Gilbert (Michel Piccoli) when his wife, daughter, and son-in-law are all killed in a car accident, leaving him to look after his young grandson and with a new outlook on life, art, and work.

Lee Suk-gyeong’s feature debut, following a middle-aged writer in crisis who befriends a woman whose life story sounds eerily familiar, is a casual yet emotionally profound work on the social roles we play that prevent us from being ourselves.

Maurice Pialat’s autobiographical classic of anti-romantic cinema is a harrowing account of a relationship in freefall, starring Jean Yanne and Marlene Jobert.