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.
Das russische Wunder (The Russian Miracle) (1963) is a two-part East German documentary directed by Annelie and Andrew Thorndike. The documentary chronicles Russia’s dramatic transformation from the Tsarist Empire to the Soviet Union, covering key historical moments including the 1917 October Revolution and the rise of Soviet communism. Through the use of archival footage, the film explores the socio-political upheavals that reshaped Russia and culminates in the achievements of the Soviet space program. Produced by DEFA, it was first broadcast on East German television in 1963, offering an insightful look at Russia's 20th-century evolution.
This documentary details the life of Klaus Fuchs who was a spy for the Soviet Union while working on nuclear research in the United States and Great Britain. It also discusses the contributions of German scientists to the atomic bomb.
The documentary shows historical film footage from the workers' and farmers' faculties (ABF) of the GDR, which existed until 1962 and were intended to help level out class differences in the education sector by preparing mainly workers' and farmers' children for a university career.
Documents important parts of the East German rock music scene of the late 1980s, from well-established bands like Silly, to underground rock bands like Feeling B. This road movie features young people using music to express their take on life, opposition to their parents' generation and opinions on the social and political climate in East Germany. It includes clips from concerts and interviews with fans and members of various bands, such as Feeling B's Christian Lorenz and Paul Landers, now members of Rammstein.
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.
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.
An international anthology about the struggles of female workers around the world.
Black and white short documentary about the patrol of the EMW radio car "Toni 14" of the Berlin police.
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 documentary about the deconstruction of the Berlin Wall which makes no use of vocal commentary but instead focuses on visual elements. From the Potsdamer Platz to the Brandenburg Gate, the camera captures the historic events from all sides and different angles: on the one hand there are news reporters and tourists from all over the world taking pictures, children selling pieces of the wall to passers-by, and people celebrating New Year's Eve, on the other we see abandoned subway stations and officials with blank looks on their faces.
Archive footage of bomb detonations during the Second World War combined with abstract graphic elements which show the destructive potential of modern nuclear missiles. Together the images are a silent warning of armament and war.
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.
Two men sit on the top of a roof, playing the tuba. They continually call out absurd messages making fun of official solutions and of their own slogans. The residents feel disturbed by the tuba's sound and start to attack the musicians, while they themselves keep on playing and shouting louder and louder. Finally the house is blasted and the tubas are destroyed.
A village in the Republic celebrated its traditional clover festival in the summer of 1976. In the form of a political feuilleton, the film conveys to the viewer the new attitude to life of the people in the countryside.
Children are introduced to the magical world of cinema in a cheerful and fantastic way; embedded in a turbulent story, they learn about the film professions. A young author, Alice, has written a story and travels to the DEFA feature film studio where this story is to be realized. On the way there, she meets characters she has already invented. The doorman, who is later recognized as one of the actors, wants to refuse them entry. Now begins a cheerful plot to realize the story, which is based on a well-known fairy tale, combined with the chase of the gatekeeper, prince and princess. Alice stands up for her charges, who occasionally slip away from her, and tries to move the plot forward, which involves various film professions. In the end, the real and the fictional merge in a fairytale meadow.
From an official perspective, marginal youth culture did not exist in East Germany. The topic of subcultures was taboo in the GDR, and groups such as goths, skinheads, anti-skins, punks and neo-Nazis were dismissed as social deviations promoted by western countries. Director Roland Steiner had access to such young East Germans in the late 1980s. Over the course of four years, he brought them before the camera in an attempt to understand what drew them to these groups.
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.
Summer holidays of young pioneers and the report of the pioneer meeting in Dresden in August 1952.
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.
