Die Kinder sind tot

In Paradisum relates two disturbing stories simultaneously. The female narrator tells her personal tale of imprisonment as the wife of the notorious Estonian serial killer, Andreas Hanni. Although her story is bizarre, it touches familiar themes that run throughout modern life: the desire to be loved and the fear of being alone. Pille Hanni's tale unfolds over cinema vérité images of life in several Estonian prisons. At times the images reflect in a literary way the events of the narration, yet they are representations and impressions, rather than traditional documentary style footage of the people involved. This opens the story to a more general interpretation, often with unsettling results. The parallel contents reveal, at two levels of story and social organisation, how the bizarre and inhuman can be tolerable and even addictive in the face of our fears.

Documentary reports on the annual icing of the Oder in the 160-kilometer border area between the GDR and the People's Republic of Poland. Icebreakers from both countries with experienced skippers join forces to make the international waterway between Frankfurt and Szczecin navigable again. Everyone works hard as a team and even a broken-down ship cannot stop them from achieving their goal. A look back at the winter of 1947 with its flooding shows what the freezing of the river and the subsequent thaw can do if the ice floes are not drained into the Baltic Sea via Lake Dammsch in good time. The skippers from both countries have known each other for years and trust each other; the camaraderie that has developed on the Oder unites the people, they control the river in winter for the common benefit of all.

This film undertakes a journey into the amazing parallel universe of East Berlin’s fashion designers and experts in the art of survival. For, in the midst of the constraints of life in the GDR, there existed a fantasy world where it was possible to dance to another tune, be individual and even provocative. The most important characteristic of this bohemian scene was one’s per- sonal style. But this certainly wasn’t something that could be bought off the peg in the GDR. In this parallel universe it was up to you to create your own individual image – with your own hands. This film tells the story of the desires, the passion and the dreams that were tried and tested, lived and performed in the shadow of the Berlin Wall.

A documentary that explores questions of secrecy and power in relation to the East German Secret Police (the 'Stasi') within East German society. The film is based upon key findings from an extensive research project, 'Knowing the Secret Police', and reflects upon how different kinds of knowledge were circulated through social, religious, political and literary networks within the former GDR. The filmmakers present this research with footage filmed at key locations throughout East Berlin and the wider surrounding landscape, including the Stasi archives and former HQ, Karl-Marx-Allee, Volkspark Friedrichshain, rural 'dacha' cabins, the urban neighbourhood of Prenzlauerberg and the social housing estates of Marzahn.

Libertad, Enriqueta, Maricarmen and Albert evoke the years when their mothers and his aunt stayed in Les Corts jail, times of innocence, hopelessness and distress. Their childhood stories inmmerse us in a world whose main characters are memories, oblivion and the passing of time.

Every year, the most beautiful, best and proudest representatives of German youth meet in Dresden to take to the streets together.

The documentary accompanies a group of soccer fans twice on a train ride to a soccer match - first in 1991 and then again in 2006. Have the fans learned something or are they still hooligans?

In a world divided by the Iron Curtain, East Germany sought to carve its niche in the technological race. Enter "Robotron" - a name that seamlessly blended "robot" and "electronics." This wasn't just a brand; it was an ambitious answer to the West's technological advancements, a testament to the GDR’s drive to match, if not surpass, Western innovation. Drawing inspiration from the corporate giants of the West, the GDR‘s government merged various businesses to form this tech behemoth. With 16 major hubs in Central Germany alone, it was clear: "Robotron" was to be the DDR's technological crown jewel. But what was the Socialist Unity Party (SED), the GDR's ruling party, envisioning with this grand venture? How did "Robotron" navigate the challenges of operating within a socialist planned economy, while striving for global excellence? And as it grew to dominate East Germany's tech landscape, why did it always seem to be one step behind the leading global tech powers?

When Women Kill is a poignant documentary exploring the shocking violence that seven women fell victim to at the hands of men. The program profiles the battered women who speak frankly about the cruel abuse, threats, and fears, and the overassertive men who led them down a one-way path to death and destruction. The film features in-prison footage, including a segment depicting a confession by a follower of the notorious Charles Manson, Leslie Van Houten, who was convicted of two killing sprees and committed to life in prison.

Loitz is one of those former GDR towns that still suffer from the effects of German reunification. For a year "Infinite Place" looks behind the gray facade of the seemingly dying town and questions concepts of home and identity through the perspective of its old and new inhabitants. The town’s vacancy and people’s urge for self-realization create a fruitful look into the future.

The soulless atmosphere of a women's penitentiary destroys the prisoners' personality, kills all femininity in them. The film looks at the rationality of the long prison terms for women with children.

The film follows a simple structure, and shows the drug-related degradation of five youths (Jake, Tracey, Jessica, Alice, Oreo) during the course of three years. The film depicts drug-related crimes and diseases: prostitution, male prostitution, AIDS, and lethal overdoses.

Berlin, summer 1988: While Michael Jackson and Pink Floyd perform in the West, East Berliners can look forward to Bruce Springsteen, Depeche Mode and James Brown. The documentary reveals how the organizers enforced the concerts with the state authorities. On the anniversary of the fall of the Wall.

Born in Germany in 2002, Noa Blanche Beschorner evokes the memory of those who, a generation before her, lived through the separation of East and West Germany. Tapetenwechsel (Change of Scenery) is the story of youth seeking their identity when confronting their collective memory.

Portraits six lesbian protagonists from rural and metropolitan parts of the formerly socialist Republic and has them tell their captivating and sometimes outrageous life stories.