Wer die Erde liebt

east german documentary about the world of tomorrow.

The futuristically trendy moderator Chris Wallasch leads the viewer through this program exploring what love might look like in 2002. Passengers at the Berlin-Schönefeld airport are questioned about how they imagine life in thirty years. These interviews are surrounded by a clever and colorful potpourri of flashbacks and flashforwards dealing with the timeless issues of relationships and family.

The film documents the well-known story of Anne Frank, whose family hid from the Nazis in Amsterdam. Eventually caught, Frank was sent to the Bergen-Belsen concentration camp, where she later died. The film goes on to explore the concentration camp in detail, the procedures and methods of the camp's commanding officers, and the atrocities the Nazis committed. Shockingly, many of the officers went on to retain their freedom, and lead relatively normal lives, often receiving support from the German government.

A defa futurum short film.

DEFA documentary in honor of the 750th birthday of the city of Berlin.

A cinema-verité documentary of Ghana’s five years of independence under President Kwame Nkruma. Striking color images of Africans in modern-day jobs, such as airline pilot and construction worker, predominate, with little voice-over.

Impressionistic East German documentary filmed mainly in the Georgian countryside in 1986-1987. The director, a painter, wanted to see if similar scenes to those found in the work of Georgian painter Niko Pirosmanishvili still existed there.

A shunter's job is to slow down, link, and unlink train wagons at a central station. The film documents - without any commentary - the working hours of few shunters at the shunting-station Dresden-Friedrichstadt, which was the largest such station in all of the former German Democratic Republic. They work day and night, amidst snow and fog at the railway tracks, speaking only as much as necessary.

This documentary follows a group of women on a typical workday as they prepare meals for a dockyard in Rostock. The viewer never learns their names - there are no interviews. The women are presented simply as workers: cooking, cleaning, hauling, and serving dishes amid clanking pots and hot steam.

Documentary on the 1000-year-old town of Weimar. The film presents an example of the victory of humanist traditions over nazi brutality.

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.

Venus after Giorgione is the the second part of the "Over Paintings" (Uebermalungen) trilogy by painter and director STRAWALDE (Juergen Boettcher). Using various methods of "painting over" or projecting on top of Giorgione's "Sleeping Venus," Boettcher alienates the work artistically. Venus' beauty is seen within a new context and is thereby newly interpreted through the eyes of STRAWALDE. The assorted landscapes behind Venus range from idyllic pastorales to morbid backgrounds. STRAWALDE's art knows no boundaries and makes a strong impression on the viewer with bizarre sound collages.

Martha Bieder is the last rubble-woman in Berlin Rummelsburg. Every day, rain or shine, she stands at the conveyor belt - as she has for decades - sorting through rubble. After a retirement party thrown for her by her male colleagues, she tells her story of being a rubble-woman in post-war Germany.

Böttchers film showcases three young workers who learn how to paint, draw, and make sculptures out of stone. The film generated a storm of mistrust, as there is no leading communist party, and the three individuals live blithely and independently of the official dictates. It became one of the first DEFA documentary productions that were not allowed to be shown.

A cinematic visit to the Pergamon Museum in Berlin. The camera usually observes the visitors and paints their views on scenes of the ensemble of figures. The amazement at the beauty and grace of the antique sculptures is reflected in the faces of the viewers and emotion is palpable. The visitors come from all over the world - one sees Indians, Asians, Blacks. All age groups are represented, from children to old people. They come individually or in groups and communicate about what they see. The film gets along without any comment. You see more pictures of the visitors than of the altar. This means that it is important for the film to show the cultural interest of the people. Gerhard Rosenfeld creates atmospheric music with a classical feel to it. An early and extremely interesting work by the great documentary filmmaker Jürgen Böttcher.

This black and white documentary film reports from the Berlin Zoo, located in the Friedrichsfelde district of the Lichtenberg district, was opened in 1955 and is the largest landscape animal garden in Europe with an area of 160 hectares. With shots worth seeing, you can experience the animals in their enclosures and spacious free running areas. The film gets along completely without commentary and directs the concentrated view to hippos, parrots, camels, red deer, bison, llamas, kangaroos, rhinoceroses; lynxes, birds, leopards, tigers, lions, polar bears and crocodiles.

Citations from love letters and poems written between Karl Marx and his fiancée Jenny von Westphalen during their teenage years are combined with images, paintings, and beautiful, atmospheric landscapes of places connected to Marx.

The last day of work for a 72-year-old fisherwoman and fish seller from Warnemünde. Amid congratulatory gestures and toastes, she tells her life story.

A polemical report. "Way to the neighbors" is the motto of the Oberhausen Short Film Festival. In their "Remarks on the Oberhausen 66 Film Festival," the GDR documentarians Gerhard Scheumann and Walter Heynowski take the competition selection to task: They see formal experiments as "excesses on the big screen" and instead of political themes, they discover a "surge of perversity." After her own film "Kommando 52" was rejected by the festival, a criminal complaint by the GDR lawyer Friedrich-Karl Kaul against the mercenary and commander "Kongo-Müller" is the focus of a press conference. The refusal of a cinema owner to show the film was a "hint from the neighbors", the neighboring public order office, and therefore state censorship in the Federal Republic of Germany.

This black and white documentary follows Ewa from Witunia and other girls from Poland, who work at Kabelwerk Oberspreee in Berlin since about a year. The movie tries to find out how the young women feel living in the GDR, working with their german colleagues. Ewa is critical and tries to fight widely spread prejudices about Polish and German people alike and she also speaks out about injustices at work.