Hochschule für Film und Fernsehen der DDR

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.

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.

Young man follows his sister everywhere with video camera and microphone and also accompanies her when she contact with men.

Andrees’ graduation project approaches the perky 14-year-old Jacki mainly through her social environment: the stressed patchwork family mother, the solitary long-distance truck driver father, the eclectic neighbourhood. The closer the film gets to its protagonists, the freer the movements of the camera become, gliding through a studio as if in a trance or flying over the nocturnal motorway as if over a UFO landing strip.

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.

The film revolves around two characters: a high school student who is intelligent, beautiful, and fulfills all the expectations placed on her by her school, her parents, and society—and a young unskilled worker, a loser, whom she is supposed to take care of and reform. Such sponsorships were commonplace in the GDR and form the basis for a multi-layered, ironic, and profoundly told encounter that deals with conformity and rebellion, social background, and outsiders.

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.

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

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.

The story of Paris-based Palestinian painter Samir Salameh.

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.

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.

A documentary portrait of the everyday life of teenagers in Mecklenburg.

A declaration of love to Lusatia and its Sorbian inhabitants.

Red Berlin from the 1910s to the resistance against National Socialism comes to life as a proletarian family history. The siblings of Ernst Knaack, a communist who was executed in 1944, talk about their childhood and youth, which they spent with their grandparents. Their grandfather, a former sailor who took part in the November Revolution and was a member of the Workers' and Soldiers' Council, ran the Zum Kuli pub in Prenzlauer Berg—a workers' pub that was also frequented by the unemployed and homeless, where party meetings were held and leading KPD members such as August Bebel and Hermann Duncker were regulars.

Rainer Burmeister (director) tells a story about everyday working life of 46 young Mozambican people in the GDR who were employed as contract workers. Among them is 20-year-old Luisa, who worked in the mining industry and, like the others, is now training to be a craftswoman.