Peter Badel

In the 1970s the North American Soccer League marked the first attempt to introduce soccer to American sports fans. While most teams had only limited success at best, one managed to break through to genuine mainstream popularity - the New York Cosmos. The brainchild of Steve Ross (Major executive at Warner Communications) and the Ertegun brothers (Founders of Atlantic Records), the Cosmos got off to a rocky start in 1971, but things changed in 1975 when the world's most celebrated soccer star, the Brazilian champion Pele, signed with the Cosmos for a five-million-dollar payday. With the arrival of Pele, the Cosmos became a hit and the players became the toast of the town, earning their own private table at Studio 54. A number of other international soccer stars were soon lured to the Cosmos, including Franz Beckenbauer, Rodney Marsh, and Carlos Alberto, but with the turn of the decade, the team began losing favor with fans and folded in 1985.

Former heads, senior officers and the rector of the MfS law school explain how the ministry functioned. The interviewees see themselves as legitimate actors with a clear mandate and political enemy image. They provide an insight into the techniques and routines of secret service work, psychological tricks during interrogations and the management of “unofficial collaborators”. What they all have in common is that they are not aware of any moral guilt. The directors contrast their footage of prisons and archives with the statements of former Stasi employees in an attempt to expose their evasions and efforts at suppression.

Renowned documentarian Thomas Heise begins a film on Berlin's Schönhauser Allee, the road he lived on for decades. A few months later, Heise dies unexpectedly.

The Oppen family has lived in Berlin, Griesener Straße, for generations. The first names of the family members are also repeated, so the grandson Jan has the same first name as his grandfather. The Oppens' husbands have maintained a tradition up to now: they were or are all carpenters. But the latter does not yet fall on fertile ground with 16-year-old Jan, whose passion is the moped, his "machine". Of course, he is a newcomer among the motorcycle fans around the black Jonny, but he loves to be in their company to experience adventures, and of course he wants to be able to "keep up" with them. Jan has already developed a strategy for how he can do this.

In Saxon-Anhalt, near the town of Zerbst, set away from busy roads, next to a deserted military landing strip, is the village of Straguth. An unimportant place. Lost in time. Or ahead of time. The film describes the people of this quiet place, in the past, the present and the future. A film like the digging of a hole. If one could dig in spiral form. And dig a black hole. An archaeological journey to landscape, people and things, traces of changing times and transition. Wide open landscapes and detailed drawings of people within. And on entering Otto Nathos’ modest bar, there is always talk of the war. The era of youth.

Eleven-year-old Christine, called “Schiene”, spends her vacation on her grandparents' farm and discovers Zirri, a bright white cloud sheep, in her grandfather's flock of sheep.

Seventeen-year-old apprentice Jonas, struggling with his ailing, proud father, pours himself into restoring a decaying ship on a Mecklenburg lake. Neglecting all else, he loses his girlfriend and support at work. After the boat burns, a reconciliatory vocational ceremony reunites him with his recovered father.

In the GDR, purchasing a car was such a difficult process that many families applied for one years in advance. For example, Gisela secretly orders a Wartburg model after the birth of her first child. By the time the vehicle is ready, her daughter is a teenager, and Gisela's husband, who actually prefers walking, has already bought a second Wartburg from a friend in financial trouble. As a result, the couple decides to sign up for driving school together.