Die Rache des Kapitäns Mitchell

A detailed reconstruction of the censorship case against the landmark Weimar-era communist film, Kuhle Wampe, or Who Owns the World? (1932). Directed by Slatan Dudow, the crew and cast included left-wing luminaries, such as playwright Bertolt Brecht, composer Hanns Eisler and balladeer Ernst Busch. The film was the subject of vehement disputes and was banned twice for revolutionary and communist tendencies that were perceived to threaten the state. About 230 meters of the original film fell victim to the censor’s shears. This historic censorship case was argued over the course of three sessions. Censored: Kuhle Wampe re-enacts the censorship hearings, based on original minutes and documents, as well as personal records of the case. In addition to footage from the original film, this docudrama includes original clips of Berlin in the 1920s and '30s and short testimonies, filmed in the 1970s, with some of the actors involved in the original Kuhle Wampe film production.

Pauline Oswald is 50 years old and has three daughters with her husband Robert. Now, after almost 30 years of marriage, they are about to divorce. This marks the start of a completely new life for Pauline. Until now, she has only worked as a mother and housewife, while her husband Robert, an academic, brought home the salary. Pauline later meets the cheerful and resolute Wally, who works as a brigade leader in a large laundry. A friendship develops between the two women, and Wally helps Pauline to continue on her path to a self-determined life.

In the crisis-ridden Germany of the 1920s, the desperate Frieda Hausmann pretends to be her deceased husband Wilhelm so that she can support her family by employing him as a porter.

The paths of many people cross before Christmas Eve. Each of them has their own special story to tell on this day... On the morning of December 24, the doctor at the children's clinic leaves the hospital with a happy heart. The parents of little Matthias have reconciled with each other. As a farewell gift, the porter gives her a chocolate Santa Claus, which is to be passed on many times that day: at one or two fleeting encounters, as a nice gesture for other people. Fate plays a bit of a servant Ruprecht and distributes his gifts. Two lonely hearts are in a hurry to escape the hustle and bustle of the festive season. An accident brings them together. In exchange for a bottle of champagne to mark the shock, the sweet chocolate man switches to Ilse's divorced husband, who is drawn back into the bosom of the family at the same time every year.

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.

The series is about a cruise ship that travels to places around the world.

Can you climb and play on monuments? 47 years later, the documentarian Christa Mühl returns with Tobias Lenel and asks today's people what they think about the children playing around the Käthe Kollwitz monument.

Four small-time crooks occasionally enlist the help of their girlfriends to earn a living by robbing cars. It is only when a former television producer joins the business that they achieve visible success.

Kollwitzplatz, Prenzlauer Berg: Children are playing and climbing all over the monument to Käthe Kollwitz, frowning adults are watching them. What would Gustav Seitz, the creator of the sculpture, say? Christa Mühl has asked him but reveals his answer only when the adults have finally disappeared. Until then, she constructs explosive matter as light as a feather, set to Belgian cembalo jazz and with the perky montage style that characterises her early documentary work. After Karl-Eduard von Schnitzler himself had the most controversial scene cut, the film could be broadcast on television and triggered a lively discussion about the practical value of art.