Tim Albery's Olivier-nominated production for The Royal Opera delves deep into the psychology of Wagner's cursed wanderer and his beloved Senta, detailing the monomania and uncompromising idealism that finally drives them apart. Michael Levine's elemental single set is dominated by a rolling metal hull that represents the Dutchman's phantom ship, the poverty of Senta's home and the treacherous sea.

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This vivid film of Wagner's romatic opera succeeds in conveying what has famously been called "the wind that blows out at you whenever you open the score", including Daland's boat anchoring against the Sandwike cliffs, the red-sailed phantom ship, and the ghost crew rising from the dead. "Scenes that recall classic horror films... Brilliantly successful" (Nürnberger Nachrichten), "Captures the works' essence" (Süddeutsche Zeitung). With a superb cast; conducted by Wagner authority Wolfgang Sawallisch.

This is a performance of Wagner's three-act opera Der fliegende Holländer ("The flying Dutchman"), performed by Bayreuther Festpiele, directed by Dmitri Tcherniakov. The staging was notable for two other milestones, as Oksana Lyniv became the first woman to conduct at Richard Wagner’s legendary Festspielhaus since its opening in 1876, and the sensational Lithuanian soprano Asmik Grigorian made her house debut with a standout performance as the opera’s heroine, Senta. The exceptional cast also included John Lundgren (The Dutchman), Georg Zeppenfeld (Daland), Eric Cutler (Erik) and Marina Prudenskaya (Mary).

A Romantic Opera in three acts recorded live at The Amsterdam Music Theatre.

The sailor's daughter Senta takes pity on the centuries-old legendary figure of the Flying Dutchman. He was condemned by Satan to sail the world's oceans until a woman frees him from this curse through her loyalty. One day, when Senta's father returns home from a long voyage with a mysterious man, Senta is the only one who recognizes the Flying Dutchman in the sinister foreign captain. At the cost of self-destruction, she decides to redeem him. Director Christine Mielitz and her set designer Stefan Mayer see Daland's and the Dutchman's ships as an image of the entire world, of life itself, in which we all have to find our way around.

An alien from the planet Antoria lands on Earth and is promptly assaulted by the porn producer Gerhard Hornbacher, who steals his "form changer".

In a cramped apartment, a naked man caresses himself in an equivocal manner with a small doll. A visitor rings the bell. The two men shake hands and begin to chat quietly. Their meeting seems to be a date where they will indulge in a masochistic sexual game. But very quickly, the events will degenerate. This is when the doll comes into play.

Martin returns home with a good sum of money in his pocket after working in Greenland. He settles down with his sister, who runs the inn – but much has changed. He is most disappointed that his childhood sweetheart Martha has married Just Hovmand, who owns the Lunehøj farm. Martin starts a machine station and is immediately ready to help Martha and her husband when they run into financial difficulties. But stubborn Just refuses to accept money from Martha's former boyfriend. As usual in a good Morten Korch film, there are a couple of pleasant 'cousins' – Chr. Arhoff and Peter Malberg – and they come up with many good solutions...

The compilation film... und der Sünder bereut encapsulates the essence of the German Heimatfilm. The plot is a love story that, after the appearance of a villain, ends happily. Recounted from 50 films.