Kriegsbilder

Berlin Film Fest 1984. The best place for every cinema fan. Everyone wants to be in on the festival, but that may be really difficult, if one has no accreditation. Also Journalist Matthies gets to know the rules of being in or out when he wants to see a screening and is not welcome. Thus he watches an old German silent flick which he is barely interested in. The next day the newspapers are full of reports about a newly discovered German masterpiece from the silent era. It seems that Matthies had luck. He just saw *the* film everybody is talking about now. Also everybody is speculating about its director, who remains unknown. When Matthies talks to Ackrewa, an old befriended projectionist, about the film, the latter seems to recall the name of the director. Matthies decides to research the case. An odyssey into film-history begins and if it is successful Matthies will come up with a top story.

Iranian filmmaker Narges Kalhor is forced to confront her family legacy and German bureaucracy when she seeks to remove an overly symbolic word from her name.

Episode movie about the no-future generation of the early 1980s.

This German format is not a series properly speaking, as it has no permanent cast or script continuity, but presents each time a 45 minutes documentary, usually in part presented as a docudrama (not faction, as close to scientific knowledge as possible, but visually attractive), elaborating a specific historical theme, widely varied, often exotic in the sense of a far time (as far back as prehistoric times) and/or place (around the globe), although some episodes fit together well, chronologically or thematically, but always fit to be watched separately. Usually authentic locations are used, as well as scenes from and/or interviews about the scientific research it is based upon.

A woman meets a man in a bar late in the evening and goes to his apartment. A woman picks up a girl from school and runs with the child through the park. If we see such scenes in a movie, or are we watching such situations in life, we quickly believe we know who these women are: a woman looking for a fleeting adventure in the first scene, a caring mother in the second.

Baskaran left India for Dubai with high hopes but came back in a coffin. His widow Sundari didn't believe he committed suicide, so the relatives recruit cousin and filmmaker Jayakrisahnan Subramanian to uncover, what really happened. On his research, Jayakrishnan discovers that his cousin's fate symbolizes the exploited dreams of thousands others and the consequences they have to face when they wake up.

The child of survivors of the Sinti persecution by Nazis, Melanie Spitta confronts the truth about unpaid reparations as she exposes shocking evidence and issues a warning against believing perpetrators over victims.

In the documentary, Melanie Spitta accompanies survivors and their children to Auschwitz. The film powerfully illustrates how the horrors of the concentration camps have shaped the survivors and their descendants across decades and generations—and why the victims’ trust in the Gadjé remains broken to this day.