Helke Sander

A documentary with fictious elements. Ms. Elisabeth (Lieschen) Müller from Austria comes to Bonn, Germany to find herself a man. During the search she investigates the connections between neckties, political power and prostitution, and tries to look for the influence the german feminist movement had on the men in Germany's capital.

“Six young people move through a city in order to establish the starting point of their joint action. But they can’t agree on the topic. In the end everybody goes their own way and leaves the city.” - Hartmut Bitomsky

Lucy, who is already human-like, claims that the first humans were mothers: The mother built a nest to secure the child when it became too heavy to carry. This is how she invented the house. She penetrated the dense branches with her voice to maintain contact with the child. That's how she invented language. Today, Lucy shakes her head and asks: "How did you let yourself be dragged down like that?".

A young German soldier named Paul goes AWOL and returns to his childhood home in the countryside. Over a few summer days, Paul evades the responsibilities of everyday life and falls in love with his brother’s girlfriend, disrupting the lives of everyone in his circle.

Based on years of research into the mass rapes committed by the Red Army at the end of the Second World War. In the first part of the documentary Helke Sander interviews multiple German women who were raped in Berlin by Soviet soldiers in May 1945. Most women never spoke of their experience to anyone, after 46 years of silence they talk for the first time publicly about their violent experiences that have left such a mark.

Berlin Underground-star Ulrike S. went to the Toronto-Filmfestival and then to New York - to find out something about the film business and also about her own desires, daydreams and nightmares.

Set in contemporary Vienna, the film involves a photographer, Anna, who discovers that extraterrestrial beings are colonizing the minds of her fellow citizens by raising the human aggression quotient. The outer world immediately becomes disjointed, yet the inner world does too, as Anna and her lover, Peter, try to hang onto their deteriorating relationship.

A look into the life of Holger Meins, the German cinematography student who became a revolutionary and a prominent voice in the Vietnam War protest movement. This film is comprised of interviews with his associates.

Documentary showing the daily routine of Sander’s seven year old son, Silvo.

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

A concise blast of feminist film making, Sander's first film is a tense yet playful four minute short that dissects a typical urban scene at a bus stop on a busy street in Berlin.

An austere treatise on the military-industrial complex that produces napalm.

Ihre Zeitungen is a political film rooted in the 1968 student campaign against the Springer press group, which controlled popular dailies such as the Berliner Zeitung and the Bild Zeitung. Claiming the latter were manipulating public opinion, the students laid siege to the publisher's offices. These events made a strong impression on the German collective conscience, and it's in this context that Farocki made this "agit-prop" film.

Based on years of research into the mass rapes committed by the Red Army at the end of the Second World War. In the second part of the documentary Helke Sander interviews former Soviet soldiers, and children born from rape, splicing their statements with material from archives. While avoiding an emotional presentation of the subject matter to rule out revanchist interpretations.

The film documents the work of an anti-authoritarian and self-organized school store in Witzlebenstraße in Berlin-Charlottenburg, which emerged as a critique of the development of children's stores. The film shows how the teachers discuss the conversion of open spaces into playgrounds with the children and how the children jointly prepare the publication of their newspaper "Radau". The concept of the children's stores was developed by the Action Council for the Liberation of Women, which emerged from the Socialist German Student Union (SDS), at the Free University of Berlin (FU) and was organized as self-help from January 1968. Helke Sander was one of the co-founders of the Action Council.

I was on a ship – this sounds like a novel: I had just embarked for Venezuela on June 2, 1967 as the Shah of Iran was arriving in West Berlin. There were protests, a student was shot, and a new form of opposition movement came into existence. The idea for this film came to me while I was still aboard the ship. The film is structured like a commercial. The film takes a metaphor literally: words can become weapons. However, it also shows that these weapons are made of paper. The weapon spoiled everything for the Shah and his wife, they are wearing paper bags on their heads with faces drawn on them – the kind of bags worn by Iranian students during demonstrations to hide their identity from the Savak, the Iranian Secret Service. When I showed this film to the audiences in the late 60s, it was highly praised. I think people understood then that over obviousness is also a form of irony. This capacity was lost a few years later. I think it's coming back today. –HF

A woman threatens to jump off a crane with her two young children in order to secure affordable housing.

Within four episodes ("Er am Ende", "Muss ich aufpassen", "Eva" and "Are You Lonesome Tonight?" ) are being told adventures of love sick Felix. On Sylt he meets two nymphomaniac women, in Hamburg he meets Eva, a girl who is even more love sick and later he meets Luci who gives him an indecent proposal. Thus he flees again...

Edda Chiemnyjewski, a freelance press photographer and single mother living in 1970s West Berlin, is confronted with the fact that "a cook has no time for affairs of state". She also fails to find a market for the project she has been working on with her women′s photography group that seeks to document the city. While from today′s perspective the city, which becomes one of the film′s protagonists, looks like post-war Berlin, little has actually changed as regards the precarious existence of free-lancers. With a heavy dose of self-irony Helke Sander, who also plays the leading role, tells of a divided life in a divided city.

Part of the episodic film, Seven women, seven sins, this is a different take on the Adam and Eve story. Eve does eat the apple and her curiosity makes her human. Her generous gesture of offering people things turns into a compulsion to feed others.

At the end of the 1960s, a young woman laid the foundation of the women's movement. As well as political initiatives against male dominance, a detailed picture was drawn of society, which established the women’s motivation.

Story concerns two friends, Freya and Irmtraut and their relationships with the same man, Traugott, who finds it impossible to choose between the two women.

Jenny is on the road in her film producer's Rolls-Royce, which she has to drive to a film shoot and a wedding. When she gets lost at night, she finds a wrecked car in the ditch and rescues a skinhead.

When an ordinary-looking man tries to buy a mirror in an upscale shop, class conflicts arise. The third part of the short film series.