A group of young people in Halle-Neustadt moving aimlessly between the concrete blocks once built as a socialist model housing estate. Familiar certainties dissolved along with the GDR. Even though there were hardly any foreigners in Saxony-Anhalt, a dull aversion to everything that hadn’t been part of daily life until then began to spread. The general dissolution, perceived as a threat, is countered by apparently clear world views. When Thomas Heise won the “Documentary Film Prize 1992” at the Duisburger Filmwoche, the laudation ended with the assumption that the film would probably provoke disagreement. It turned out to be true.

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.

A widow has two daughters. Louise, lazy she spoils and Marie who dutifully and eagerly helps her mother around the house. One day Marie falls into the well and wakes up on a flowery meadow in a land of dreams, where even bread and apple tree can talk.

Matthias, son of popular rural Lutheran pastor Oskar Brendel and his wife Karin, about to graduate without honors unlike his emigrated big brother, is a pubertal rebel and hopelessly in love with local Maren Grothe. After he picks a fight at the village fair with her flirt and storms off, Maren s found comatose under the watchtower. Missing, Matthias is the only suspect, making the clerical family generally mistrusted. Karin finds her son, whose innocence she believes, apprenticing carpentry on the island where his buddy loves with his father Volkmann. Matthias explains he ran having seen his father Oskar refused ending an affair with Maren, who jumped as suicide attempt. The Brendels consider the due consequences.

Elias, born at the end of the war, receives an anonymous phone call on his 47th birthday: his parents are dead. He is now a successful politician, but thirty years ago he had fled from his home and parents in the East to seek a new life in the West. The return to his parental home causes Elias a sense of unease and disturbs the rigid order and complacency of his life.

Alessandro Rossi, an Italia air force officer in diplomatic service, is happy with his wife, pilot Bea Rossi, who had a miscarriage and gets obsessed with her child wish when pregnant again of a boy to be christened Vittorio 'winner'. Bea resigns her job and moves in with his caring rural Italian family -mamma Teresa, papa Giuseppe and Bruder Giorgio- while his job keeps him mostly abroad. Bea's domineering mother Martha, who feels deserted, calls her to Berlin gravely ill, but dies before Bea arrives by train. Clearing out the home, where Bea's first love Moritz Wiesner, who cared fro Martha for her sake, rekindles (un-)happy youth memories. Alessandro can't get Bea to leave Berlin, where after unselfishly saving a child in danger she has another miscarriage, but hides it from Alessandro, whom she somehow blames, and resolves not to return without helping herself to a child, in a deranged way, but gets found out

Film director Andreas Kleinert belongs to the last generation of filmmakers that emerged in the former German Democratic Republic (GDR). Born in 1962, Kleinert's attitudes were shaped by the late 1970s, and particularly by the 1980s—a period of increasing disillusionment. He wrote his thesis on “Levels of Consciousness in the Film Poetry of Andrei Tarkovsky,” the late Soviet film director who made a name for himself in the pre-perestroika years with bleak films. As Kleinert completed his film academy studies with his graduation film, Leb' wohl, Joseph ( Farewell, Joseph, 1989), the Berlin Wall fell, heralding the collapse of the GDR. Kleinert won the main prize for his diploma feature film, Leb' wohl, Joseph, at the Munich International Festival for Film Schools. The next year, this remarkable black-and-white Kafkaesque film of cryptic symbols and enigmatic metaphors was invited to compete at Locarno.

"Pictures from the late eighties in the GDR on up to the immediate present in the year 2008 in Germany. What has been left over besieges my mind. All these pictures keep reassembling themselves to make up something which they were originally not made for. They are still in motion. They are becoming history." (Thomas Heise)

Short biographical documentary about the life of Alfred Florstedt and his life as a progressive communist from the Weimar Republic to his death in 1985.

Voigt, Kroske and Richter were among the first filmmakers who documented the events of the historic 9th of October 1989. Their “material” reflects them from different angles: protesters, workers, opposition members, policemen, street sweepers and functionaries. THE document of the “peaceful revolution”.

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.

After a lot of trial and error, Hilde Reimer has finally decided to marry her late love Theo. Immediately after the wedding, Theo moves in with her in the Reimersche family villa - nothing seems to stand in the way of their mutual happiness. Or is it? While Theo soon gets to feel the idiosyncrasies of his new wife, Hilde quickly realizes that she can hardly keep up with the pace of the agile Theo in everyday life.

Continuation of Andreas Voigt's Leipzig films.

18 years after the last film, Andreas Voigt returns to the protagonists of his Leipzig films.

Portrait of a group of skinheads, some politically left wing, others extremely right wing. One feels the cold atmosphere of the society. The film was controversial. It was praised by some for its inside into the skinhead scene, but attacked by others for giving these radicals a platform for their arguments. Even more confusing were the images in its brilliant black-and-white cinematography.

Changing jobs and changing boyfriends - until now, the beautiful Sonia has cheated her way through life. She found the support she needed with her sister Karin. But then Karin doesn't return from a supposed business trip. Sonia sets off with her dog Bigfoot in search of her sister. The first clue leads to an internet chat room where Karin regularly logged in under her alias Demi Moore and indulged in provocative sex talk.

The story of Dietrich Bonhoeffer, a German clergyman of great distinction, who actively opposed Hitler and the Nazis. His convictions cost him his life. What is a moral person to do in a time of savage immorality? That question tormented Dietrich Bonhoeffer, a German clergyman of great distinction who actively opposed Hitler and the Nazis. His convictions cost him his life. The Nazis hanged him on April 9, 1945, less than a month before the end of the war. Bonhoeffer's last years, his participation in the German resistance and his moral struggle are dramatized in this film. More than just a biographical portrait, Bonhoeffer: Agent of Grace sheds light on the little-known efforts of the German resistance. It brings to a wide audience the heroic rebellion of Bonhoeffer, a highly regarded Lutheran minister who could have kept his peace and saved his life on several occasions but instead paid the ultimate price for his beliefs.

Leipzig is in a period of change. The uproar of Autumn ’89 is followed by a hectic electoral campaign in Spring ’90. Nightly conversations with street sweepers are dominated by hopelessness and broken self-confidence, but one can also recognise a keen sense for the change in social climate following the political unification in the GDR. Despite their lack of illusions, they have an acute view of their surroundings, and for these street sweepers only one certainty prevails: there will always be dirt.

The lower level of Lichtenberg Station in Belin in early October 1989: the beginning of the end for the GDR. In the snack bar, the staff are catering for travellers of every kind while in the background the authorities maintain a flow of triumphal statements, but those months between August and October come to feel like sitting out the death throes. Careful observation of people and their work as the current of history suddenly becomes perceptible.

Articles of former East Germany from household items to flags are thrown away at a garbage dump outside of East Berlin, serving as a reminder of a state that no longer exists. In this gesture of breaking ties with the past, the film captures the dumping ground as the last burial site of a society and the absurdity of time and existence.

Ten years after breaking off the film "Anka and ..." nearly all the protagonists of that time have disappeared. Mario and Tilo hung themselves in the final phase of the GDR, Frank is surviving in West Berlin addicted to drugs, and Karsten is doing pretty well there. Anka, however, who once was in love with each of them, lives alone with her danghter in Eisenhüttenstadt. A film about normality in life.