DEFA-Studio für Wochenschau und Dokumentarfilme

Documentary on the master composer, from a GDR point of view.

Posing as West German journalists, East German documentary filmmakers Heynowski and Scheumann pay a visit to the notorious Nazi-turned-mercenary Siegfried “Kongo” Müller, pump him with booze, and get him to talk about his life and war campaigns in Africa.

A locomotive journey traversing the North to the South of the German Democratic Republic on the eve of its dissolution. Labourers, punks, mothers, intellectuals, young and old are implored to reflect on their life choices, the sacrifices they've made, and their place in the world. Despite everything, hope persists.

This first co-production between the GDR and Great Britain is intended to contribute to an understanding of the situation and attitudes of millions of working people in opposing social orders. Using the example of shipyard workers, fishermen, the brigade and family of a trade union active cook and unemployed person of various ages and professions in Newcastle on the one hand and a brigade of crane operators of the Warnowwerft and fishermen of the Warnemünde cooperative on the other hand, insights into the way of life and attitudes of people of our time are to be conveyed.

Sitting at her typewriter, listening to tango music, she dreams. Buenos Aires and Montevideo are far away, a different world where, long ago, the tango came into being. A dream about dance and music, as well as about unfulfilled desire and wanderlust behind the Berlin Wall.

Documentary short.

With films including the 'rubble woman' portrait Martha, the three-part experimental film cycle Potter's Stier, Venus nach Giorgione and Frau am Klavichord, the portrait of the artist Kurzer Besuch bei Hermann Glöckner, and also the documentaries Rangierer and Die Küche, noted for their outstanding sound and visuals, Jürgen Böttcher distances himself yet further from the didactic tone and abstract heroic representation of socialist films.

A documentary about young people just starting their higher education and their professional life.

Started in the summer of 1961, even before the Wall was built, the film becomes an explanation after this historical event as to why things can no longer go on as they were before. Unmistakably, as in almost all of Karl Gass' films, the passion with which he treats his subject is unmistakable. If you want to get to know the zeitgeist of the historically significant year 1961, which on both sides knew more the Cold War vocabulary than factual arguments, you can see the Eastern variant in this propaganda film.

Portrait of a private coal company in East Berlin's Prenzlauer Berg district in 1988/89. The feisty woman boss runs the business with humour and understanding. Her seven male employees respect her. To the outside world, they are all tough guys, but as they describe their jobs and personal situations, above and beyond the hard manual labour, their vulnerability starts to come to light.

Nine very private encounters with different people of the post-war generation and their memories of childhood and youth. Among others, the guitarist and singer Peter "Caesar" Gläser and the actress Christine Harbort. Roland Steiner asked his contemporaries about - "What we remember ...". All interviewees are as old as the state they live in. Nine CVs from the GDR are described. They have different professions, from skilled worker and scientist, nurse and saleswoman, actress or rock musician, even a minstrel is included. They remember what shaped them: Family, school, birthdays and hot summers, the happy moments and their own failures.

The only documentary ever made by DEFA on the topic of homosexuality was this public education film commissioned by the Hygiene Museum Dresden and produced in cooperation with East German gay and lesbian activists. In interviews, GDR lesbians and gay men talk openly about their first sexual experiences and coming out. Though the film tries to convey an official GDR acceptance of homosexuality, they also talk about social discrimination against openly gay individuals.

In early summer 1989, Helke Misselwitz portrays young musicians in a band who produce their music on other people’s waste items. The four boys call themselves "Bulk Rubbish" and they drum out their resentment, having grown up on the new housing estates of East Berlin. A straight-up picture of the GDR youth is presented here, which in no way conforms to the official image. The film crew concentrates on the observation of the boy Enrico and his mother Erika: when the mother marries in the West, her son decides to stay in East Berlin, bidding her farewell at the border-crossing. Only shortly after, the tables are turned again: as the events in Berlin leading up to the fall of the Wall are practically captured live from the film crew, Enrico insists on maintaining his cultural identity, even after the fall of the Wall. The "Bulk Rubbish" musicians want to remain citizens of their own state and perceive the looming reunification with scepticism.

Director Andreas Voigt interviewed people of different ages and social backgrounds about their experiences after the fall of the Berlin Wall. He paints an important picture of this historic period in German history, filled with radical social and economic change and insecurity. Last Year Titanic was shot from December 1989 through December 1990 — the last months of the GDR and the first months in united Germany.

The film deals with the infamous "Kommando 52", which was active in the 1960s civil war in the Congo and was recruited mainly from West German men. Among them is the former Wehrmacht officer Siegfried Müller. Based on personal accounts and original material - backed by tape recordings of interviewed mercenaries and photos of murdered Africans - it creates a hard hitting historical document.

The age group in a group portrait of the fifth grade. They make suggestions for filming at school, in their free time and at home. Growing challenges through the lessons that bring knowledge and new questions and broaden their horizons.

The Prenzlauer Berg district in the former East Berlin was a particularly intense example of the "short summer of anarchy" on the heels of the fall of the Wall. This merry, teary swan song is a pastiche of dancing seniors, revelling bohemians, transvestites from the West, and Balkan musicians. On a more serious note, we hear from women in positions of responsibility – workers at a state-run textile factory, as well as the owner of a clothing store fear for their financial future, while the lady boss at Konnopke's snack bar eagerly accepts her first payment in West German marks.

The children of Golzow, six or seven years old, in kindergarten. Their enrollment in school together, the first days of school. Playfully learning the first letter. Conflicts between wanting and having to.

An international anthology about the struggles of female workers around the world.