Hochschule für Film und Fernsehen der DDR

17-year-old Ramona comes from a home in Berlin to a small village and introduces herself as the baker's daughter. Neither of them knew anything about each other. Laconic images of the dreariness of the East German provinces show the excessive demands on the long-married baker and the mutual speechlessness of daughter and father.

A satire about a West Berlin commercial producer with an East German background. To stave off his company’s bankruptcy and collect a second round of Western aid money, he “repeats” his flight from East Berlin – on, of all days, November 9, 1989.

A Little Boy in the ruins of World War II and the white lie of an old man - after a story by Wolfgang Borchert.

A wounded Soviet soldier is kept hidden by his wife in their home for 26 months. He hopes to survive the war in this way. Too late, they both realize the error of their ways.

It’s only after the separation from her husband that another man tells her how valuable she is: the Chladek family, she’s a teacher, he’s a student. The first few years were nothing but quarrels: the Surau family, he’s a plumber, she’s a postal worker. Should she really intend to get further education at evening school, he won’t accept this: the Lehmann family, he’s a locksmith, she’s a lecturer. Three thirtysomething couples live in the Potsdam high-rise behind whose windows Petra Tschörtner looked for her graduation film. Long interviews that pierce the surface at once, equally revealing and oppressive. Promptly awarded a prize at the West German Short Film Festival in Oberhausen.

When Michael was released from the Jugendwerkhof at the age of 16, he said: "... There has to be controversy to make progress, to achieve something in life, to be a human being at all." Three years later, the movie tries to find out what has become of him.

The director describes the everyday life of a little boy who, as a "latchkey kid," has to spend the afternoon alone until his father finally comes home in the evening. The mother, for whom the boy makes a letter the following day, seems to have left the family.

Short biographical documentary about the life of Alfred Florstedt and his life as a progressive communist from the Weimar Republic to his death in 1985.

A portrait of a 74-year-old woman who lives in modest circumstances in a village in Brandenburg and tells her story on camera: born in 1904 in Rastenburg (East Prussia), Wolters Trude moves to Berlin at an early age with her parents and five siblings. At the age of nine, after the death of her mother, she was placed in an orphanage. In 1918, at the age of 14, she was placed with a family, working in their restaurant. She married in 1929; her husband turned out to be an alcoholic; she had eight children, six of whom survived, and whom she raised practically on her own.

The minutes before the train departs: time pauses.

In interviews, several important GDR personalities and also GDR citizens comment on the events of October 1989.

A little everyday story about a man, his wife, her father, an old friend, and a few scenes from the unspectacular lives of ordinary people. Shot in a Berlin apartment with its authentic interior, the cinematic chamber play comically tells the story of the end of a marriage.

Sibylle Schönemann’s film about abortion lets young and older women speak; women who were forced to abort by their partners or who chose to carry the baby to term despite predicted difficulties. Assembled as a kind of collage, a round table alternates with stylised passages, while the camera also shows moments in a clinic right before and after the procedure. The attitude vacillates between drama and affirmation of life. Liberal perspectives, with one exception, are left out. Schönemann, together with Tamara Trampe, almost managed to take up the complex issue in a feature film.

Leave Me Alone is a film about America, as it appears in music about America and in pictures from America.

The film documents the hard work in the Frank-Behrendt coal business.

Using photos and letters that the director found in a landfill, she reconstructs in her documentary film the life of Maria Bartel, a Berlin baker born in 1902 who, as the director comments in voice-over, "was in the prime of her life during fascism." In 1920, she moved from the East Prussian province to Berlin with her first husband. After his suicide, she opened a bakery, which she ran until the end of the war in 1945, raised her son, and now has various relationships and love affairs.

Student film about hiding Jews during the Second World War.

Paul Celan’s poem echoes. A drive reveals a long-abandoned Gründerzeit villa in ruin. Inside, a woman in elegant WWI attire dances, then slumps in mourning. After the war she cleans, reappears in 1930s riding clothes amid radio discontent as a maid and housekeeper move through the halls. Mourning returns with WWII’s end. Post-war, she dances to American rhythms, breastfeeds under Soviet-occupation broadcasts. Beatles and Pink Floyd play as a woman in overalls emerges, memories of the century flooding her mind. She climbs into a Trabant Kübel, helmet beside her, determined to give the villa a new life.