Plantagenstraße 19

OSTKREUZ tells the episodic story of 15-year-old Elfie, who literally and metaphorically inhabits a no-man’s-land between the two Germanies shortly after the fall of the Berlin Wall. The film deploys a neorealist aesthetic to reinforce the difficulties confronting the girl, and by inference, Germany.

The movie tells a true story in the life of well-known German actor Manfred Krug. Living in the German Democratic Republic he is forced to leave the country after protesting against the expatriation of singer/songwriter Wolf Biermann in 1976.

18-year old Georg and 13-year old Barbara have been playing together as children. Play becomes love later, which leads to a catastrophe , as their parents are hostile leading to file a report to the court, as Barbara is still under age.

Based on a true story, Miguel Alexandre's two-part drama focuses on an East German woman and the fight for her children. Spring 1982: Sara Bender, living with her daughters Silvia and Sabine in the East German town of Erfurt, wants to marry her colleague Peter, but shortly before the wedding, her father is killed in a road accident. As the funeral takes place in West Germany, she isn't allowed to got there, so she starts planning to leave her communist home country forever. Trying to flee via Romania, she is caught by the secret service. After years in jail, Sara is ransomed by the West German government, but without her daughters. To draw the world's attention on her desperate situation, she starts demonstrating at the Berlin border crossing Checkpoint Charlie

In a small town in Northern Germany, a penniless German veteran is offered a job as a deliveryman by an alcoholic Turkish entrepreneur, through which the former meets the latter's wife.

Jette and Johannes have been living together for two years when Johannes suggests that they "legalize" their relationship. Jette loves him, but the proposal of marriage terrifies her.

In the style of a documentary this tragic comedy tells the story of a relationship crisis between two married couples and their longing to break out of their miserable daily lives. In this East German post-wall movie Andreas Dresen introduces the sad everyday life of two couples from Frankfurt an der Oder in a honest and tolerable manner.

Ete and Ali are discharged from the army. Since Ete knows that his wife is having an affair, he doesn't want to go home. Ali tries to persuade his friend to stand up for himself and to kick the other man out. But since Ete obviously lacks courage, Ali himself goes into action and gets rid of the rival lover. At first, Mary and Ete seem to reconcile, but repairing their marriage won't work.

Scenes from an East German marriage. A young couple, Sonya and Jens, are very much in love; they get married and have a child. When Sonya wants to go back to work after her maternity leave, they clash for the first time; Jens insists that she remain a full-time wife and mother. Until Death Do Us Part turns an actual police report into a gripping drama, as the director explores the depths of his characters' emotions, driving the conflict to a catastrophic climax.

Eva Jensen is a female carpenter form Hamburg who wants to make a new start on the Baltic Sea coast in eastern Germany. She tries to buy a workshop with a view of the sea offered for sale by Heide, who rents out beach chairs. Unfortunately, Heide’s ex-husband vetoes the sale. In trying to understand his reasons, Eva comes across a painful family secret from the days of the GDR. And in other respects too, the newcomer from the West faces prejudice in the village, although her skills are urgently needed. Fish-seller Christian is also interested in the workshop, which Eva just sees as fair competition. Then they discover a common passion, kite-surfing, and unexpectedly grow closer.

Cold War adversaries Col. Jack Knowles and his Russian counterpart, Col. Valachev, are stationed on opposite sides of the German-Czech border. Both men are responsible for a group of troops in their remote settings, and both have been shaped by their combat experiences and a shared aversion to their superiors' ways of doing things. After a defector is killed, things escalate into a full-fledged battle with serious geopolitical ramifications.

The school authorities want to read success stories in director Joachim Faber's reports. But they cannot simply be produced on an assembly line. Pupils, for example, use the wrong tone. The matter draws circles until the superiors finally talk about refusal to work. Director Faber is caught between the efforts to resolve the conflict with pedagogical means and the pressure from above.