Thomas Plenert
Sven Marquardt might be the most famous bouncer worldwide. But beside standing in front of the legendary techno club Berghain in Berlin, he is also a well-known and skilled photographer. Long before the Berlin Wall came down, Marquardt portrayed the subcultural East-Berlin scene. His black and white photography illustrates it as voluptuous, laid-back, dirty and existential. Even if shot by daylight, his work is permeated by darkness, ecstasy and night.
A German communist wrongly accused and sent to a labour camp has to keep her past life hidden for the sake of her and her family’s freedom.
Director Annekatrin Hendel delivers a portrait of three generations of Brasches as a microcosm of societal tensions being carried out on a large scale — between East and West, art and politics, communism and religion, love and betrayal, utopia and self-destruction.
Volker Koepp revisits locations and people from his earlier documentaries in the wide Eastern European region of Sarmatia.
In his film "Berlin-Stettin", well-known documentary film director Volker Koepp embarks on a journey to the places of his own past: Born in 1944 in Stettin (now the Polish city of Szczecin) and grown up in Berlin-Karlshorst, Koepp has again and again met people and found places located between the two cities that he turned into the protagonists of his films – in Brandenburg, in Mecklenburg, and in Pomerania. Now, he once again returns to these places and finds out that his own biography overlaps with the biographies of his found again protagonists as well as with the history of this region. During his search for traces, Koepp at the same time finds new people, new regions, and new themes that are also worth becoming a part of Koepp′s narration.
Werner Schroeter directed this dark and surreal tale of a man determined to save a lost lover from a grim fate at the hands of a violent mob. The city of Santa Maria is falling into chaos as an armed military faction is poised to take power in a coup d'etat. Ossorio used to call Santa Maria home, and he has returned in its darkest hour to find the woman he loves, hoping to rescue her from the violence that is lurks around the corner. As Ossorio searches for his love, he meets Victoria in a shabby hotel, who in turn introduces him to her father Barcala, who for the right price is willing to take Ossorio and another passenger away on his boat. While Ossorio is willing to pay Barcala what he wants, can he find the mysterious woman before the ship sets sail?
The film tells the story of the East Prussian landscape and its inhabitants. At one time Germans, Poles, Lithuanians and Jews lived here alongside and with one another. After World War II and the expulsion of Germans by Stalin, the Prussian province turned into a Russian enclave. Volker Koepp’s fourth film about the Kaliningrad region is dedicated to the generation, born in the '90s, and familiar with the Soviet Union and East Prussia only from school books. Parents and grandparents who were forcefully resettled to where they are now have never really felt at home. In the meantime they have hopelessly succumbed to unemployment and alcohol. Their children can only rely on themselves. Older siblings look after the younger ones, they play with what lies around, and the girl Ljuda can’t wait to finally turn eighteen, to be able to take her brothers home from the orphanage. The film has much confidence in the children. But what will become of them?
Actually, Hilde Reimer is overjoyed when the three adult daughters and their partners move to her in the old family villa, only that the three girls, despite children and great love are still not married, disturbs Hilde tremendously. And since the young ladies just do not want to give in to their mother's well-intentioned urge, Hilde makes a clever plan to get her "under the hood". - "The Daughter's Wedding" continues the story of "Grandma" Reimer aka Ruth Maria Kubitschek, who cunningly inspired her film daughters in "Desired Children and Other Incidents" to become a newcomer.
In his documentary film, Volker Koepp portrays the picturesque Polish region of Pomerania. But although the region appears to be idyllic, its inhabitants are struggling with big problems. The villages and cities of Pomerania that traditionally live from agriculture are hit by unemployment rates of up to 75% after the meltdown of the state farms. While most of the young people leave the region, some of them take their chances and start fresh – for instance, a young couple that tries to rebuild an agricultural farm with the help of EU funding. Furthermore, older inhabitants, including a spry 90-year old retiree from the Uckermark region who grew up in Pomerania, tell stories about the region′s eventful past.
A documentary about Masuria, a province in the northeast of Poland, which is probably the most renowned part of former East-Prussia. Albeit a recent boom in tourism, the sparsely populated region still remains one of the poorest regions in Europe. The impressively photographed film reflects upon the eventful history of this land: It portrays farmers, who struggle to work the barren land; fishermen, who fight for their existence, and Ukrainians, who were once forced to relocate and now return to their old home in the East.
Czernowitz, an out-of-the-way city in the middle of Europe. It was once part of the Austro-Hungarian monarchy as the capital of the crown province of Bukowina. People of many different nationalities, languages, and cultures lived here together: Ukrainians, Romanians, Germans, Poles, Huzulians. Almost half of the population of Czernowitz, once amounting to 150,000 inhabitants, were Jews. The southern part of Bukowina is now part of Romania, the north, with Czernowitz/Chernivtsi, belongs to the Ukraine. Six years ago Volker Koepp made his film Herr Zwilling und Frau Zuckermann there. Dieses Jahr in Czernowitz returns there with emigrants and their descendants.
Volker Koepp returns to the Brandenburg Marches, where many of his films were made. Uckermark describes the coexistence of the various eras using the stories and lives of the local people. They are farmers and returning noblemen, men and women hoping that short-term job-creation schemes will lead to meaningful work, a theatre director whom the Uckermark reminds of the past.
A documentary focusing on the rebuilding projects in Berlin after the fall of the Berlin Wall.
The "Curonian Spit" is a 98 kilometre long sand dune peninsula that separates the Curonian Lagoon from the Baltic Sea. The width of the spit between the lagoon′s beach and the beach of the Baltic Sea often amounts to no more than several hundred metres. In this film, documentary filmmaker Volker Koepp portrays this unique region that in its history was again and again subjected to shifting borders and the resulting social upheavals due to its geographical location between Germany and Russia.
After Sam, a penniless Afro-German singer, discovers he's HIV positive, he gets utterly drunk, spends a few miserable days, but promptly falls (back) in love. Amidst a crumbling former East Berlin (its bulidings, cars, people & culture), Sam develops a "family" for the new millenium, for the new generation of post-drug cocktail AIDS victims. The fragile "family" he forms includes his on-again-off-again boyfriend Rainer, and his best friend Bastl with his latest fling, Mike. Like the old, schmaltzy East German songs which Sam is recording, the sweet innocence of the characters struggle to prevail, the misfortunes of the characters nothwithstanding.
In the west of Ukraine, not far from the border to Romania, there is a faraway European city: Czernowitz. It was once the centre of Jewish culture in the Bukowina, a border area characterized over centuries by a multi-cultural mixture of peoples. Here, Ukrainians, Poles, Romanians, Germans and Jews lived side by side. Volker Koepp’s film focuses on Mr. Zwilling and Mrs. Zuckermann, two of the last few Jews born in the old Czernowitz. They share a friendship but also their love for the German language. Mr. Zwilling visits 90-year-old Mrs. Zuckermann daily in the early hours of the evening. They talk about old times, about shared events, about politics and literature and the worries of everyday life.
Ramona lives her lonely life in Berlin working in a lipstick factory. One day she accidentally runs into Andrzei, a Polish mechanic illegally selling cigarettes in Germany during the weekend. One thing leads to another, and soon she finds herself pregnant. Then her life starts falling apart, when Andrzei tells her he already has a wife back in Poland and her baby dies shortly after its premature birth.
In this documentary Volker Koepp shows part of the history of Prussia. He begins 700 years ago with the land of the Pruzzen situated between the rivers Weichsel and Memel and proceeds the development of the state.
In the little town of Herzsprung - whose name harks back to an ancient legend of broken hearts - almost nothing has changed since German unification, except a rise in unemployment. Johanna, a young mother and widow, becomes one of the unemployed and lives on welfare. To make matters worse, she falls in love with a dark-skinned, roving adventurer and the whole village starts talking about it.
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.
A teacher at a German high-school in the nineteen thirties has issues with his students who seem to be getting less human and more convinced of Nazi ideals as time goes on.
In late 1990 times are changing in Zehdenick, Brandenburg: Russian troops are leaving, the German Reunification brings euphoria and new hope, but unemployment rises steadily.
In a loose set of cabaret pieces, Steffen Mensching and Hans-Eckardt Wenzel - highly acclaimed East German poets, songwriters and clowns - satirize East German life in its final days and the arrival of new times after the fall of the Berlin Wall. The clowns are allowed to leave prison to sing for people outside. As they perform their pieces, however, the country sinks into rebellion, the prison is attacked and looted, and the people chase the clowns away. Latest from the Da-Da-R was the first film made by an artistic production group that had fought for independence within the structures of the state-owned DEFA film studio for years. "Da-Da-R" is a wordplay on the irreverent Dada art movement of the 1920s and the German acronym for East Germany- the DDR.
Only two months after the fall of the Berlin Wall, in January 1990, almost two hundred controversial East German visual and performance artists—including Jürgen Böttcher, the Autoperforation Artists, AG Geige, Via Lewandowsky, Trak Wendisch, Conny Hege, Klaus Killisch, Helga Paris and Hanns Schimansky—presented works rarely shown in the GDR at the exhibition space in the former La Villette slaughterhouses on the outskirts of Paris.
Volker Koepp revisits Zehdenick and Grüneberg, East Germany. People are struggling with the new political and economical conditions shortly before the German Reunification.
A journey from the North to the South during the last year of the GDR. Laborers and puny girls, mothers, intellectuals, young and old are being interviewed about humanity, they criticize and give hope. They are strong and self confident women who have to eke out a living but still smilingly tell of a world full of contradictions. Awards: - Silver Dove, Leipzig 1988
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.
Documentary filmmaker Volker Koepp visits a brick factory in Zehdenick, East Germany.
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.
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.
For five years Rogelio, a Chilean exile, has been in the GDR, where he works as a lighting technician at a theater. Though his colleagues try to make him feel welcome, he feels lonely and isolated.
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.
After a hot and steamy company party, Sibylle and Harald, both in their late thirties, spend the night together. He is a widower with two sons, with the younger son just entering school. She is single and relatively satisfied in her current relationship with a married colleague. When they meet again later, they resolve to enter into a strictly intellectual relationship.
Inge Herold is in her mid-thirties. She is divorced and lives with her 15-year-old son. She works as a psychologist and social worker and is involved with a married man. Suddenly, Inge finds out she may have breast cancer, which would mean an operation the very next day. The 24 hours before the planned surgery puts her under enormous psychological pressure and she begins to reevaluate her life. With heightened awareness of matters of everyday life, she realizes that what she previously considered meaningful, was actually void of any real meaning.
Young people living in a children’s home in Mecklenburg talk about their unstable home situations and domestic violence. Many of them have alcoholic parents and some are in danger of going down the same path. They speak openly about the past and their hopes for a better life. The documentary follows the young men and women within the group and in search of personal space. A party to start the summer holidays marks not only the end of the school year – it also means that an entire class will be taking leave of the home forever.
Sculptor Makolies is filmed working on a sculpture in the middle of a quarry in Swiss Saxony. The quarry workers go about their work around him. Both the work in the quarry and the work on the large figure in sandstone require strenght and conscientiousness. This film observers both types of work, without comparing them.
Polizeiruf 110 is a long-running German language detective television series. The first episode was broadcast 27 June 1971 in the German Democratic Republic, and after the dissolution of Fernsehen der DDR the series was picked up by ARD. It was originally created as a counterpart to the West German series Tatort, and quickly became a public favorite. In contrast with other television crime series, in which killings are practically the primary focus, while Tatort handled homicide cases, the cases handled in the GDR TV's Polizeiruf were more often the more frequent, and less serious, crimes such as domestic violence, extortion, fraud, theft and juvenile delinquency, as well as alcoholism, child abuse and rape. Contrary to Tatort, which concentrated on the primary characters and their private lives, police procedure was the center of attention of Polizeiruf, especially in the earlier episodes. The scriptwriters attached particular importance to representation of the criminal and his state of mind, as well as the context of the crime. Many episodes aimed to teach and enlighten the audience about what does and what doesn't constitute appropriate behaviour and appropriate thought, rather than just to entertain. Polizeiruf was one of the few broadcasts by GDR media in which the real problems and difficulties of the supposedly more advanced socialist society could be displayed and discussed to some extent, albeit in a fictionalized and pedagogicalized environment.
Beyond Boundaries is a lyrical, essay-like road movie tracing the scars of war in Europe and telling of places where a border is known as “Meja”, “Granica”, “Határ” or “Frontiera” – the borders of Slovenia to Austria, Croatia, Hungary, and Italy.
