Brigitte und Marcel - Golzower Lebenswege

The children of Golzow, six or seven years old, in kindergarten. Their enrollment in school together, the first days of school. Playfully learning the first letter. Conflicts between wanting and having to.

How the class community is formed. The children's environment and the experiences and discoveries that the school gives them. They are reflected in the lessons. At the end of the school year they receive their first report card and are "Young Pioneers".

The age group in a group portrait of the fifth grade. They make suggestions for filming at school, in their free time and at home. Growing challenges through the lessons that bring knowledge and new questions and broaden their horizons.

They are now no longer children. Young citizens distinguish themselves. The time before the Jugendweihe and its celebration. They visit Weimar, the former Sachsenhausen concentration camp, the Schwedt petrochemical combine, and decide to go into business after the eighth grade, stay until the tenth, or take the Abitur in the district town.

The final exam of sixteen and seventeen year olds at the end of the 10th grade. The individual in the minutes in which he is supposed to show what he can do and who he is. A last class party before the community ends and one goes apart.

A class reunion of the twenty-somethings in the old school. What one remembers, what the individual has new to tell. One of them: Marieluise. Her love, her work, her demands on herself and the world into which she is coming of age.

The first summarizing film about the path of the class and the common stations in life. But also about the different paths in the profession, in love, marriage and family. As well as a soldier. A group chronicle, viewed from the historical distance of the 35th year of the end of the 2nd World War and after 18 years of shooting in peace, which ensured everyone the first human right: they were allowed to live.

A sequence of nine individual biographical sketches with a prologue and epilogue on Golzow and the long-term observation. Deepening of the preceding chronicle. The Golzow people in the present, from which retrospective views of the previous life and the life conflicts of the individual are given.

Around the festival week for the 675th anniversary of Golzow for GDR television a portrait of the village, its landscape and agriculture in the past and present. In sketches also the parents' generation and the current state of affairs in the lives of some of our "children of Golzow".

The first cinematic review after the fall of the Wall and the end of the GDR. In the context of a reunion of the "children of Golzow" on the 1st anniversary of German unity and their joint trip to Hamburg also a workshop report documenting the thirty-year history of the Golzow Chronicle from the new German situation as well as the thoughts and feelings, hopes, fears and objective changes in the lives of now already 13 portrayed.

The first life story of one of the "children of Golzow", continued beyond the "Wende" as an independent feature-length film, which tells of the career of the first hero of our first film, using the rich material available from Jürgen, who became a painter and upholsterer, and "his" Golzow, where he still lived at the time.

Subsequent discovery of one of the students from the class, to whom in "Curricula vitae" was not yet dedicated a portrait sketch. What the smallest in the class knew how to make of himself. Why the agricultural machinist and father of two sons from his first marriage is called uncle by his third son.

The different life paths of former girlfriends from Catholic and Protestant homes respectively - one a draftswoman, the other a chemical laboratory technician - in two interrelated films, in which love, like the demands and attitudes to life in the change of its foundations in the process of the decline of the GDR and its accession to the Federal Republic of Germany, play a special role.

The different life paths of former girlfriends from Catholic and Protestant homes respectively - one a draftswoman, the other a chemical laboratory technician - in two interrelated films, in which love, like the demands and attitudes to life in the change of its foundations in the process of the decline of the GDR and its accession to the Federal Republic of Germany, play a special role.

The portrait of someone who came into the class as a dropout and, as far as travel is concerned, later went the farthest of all. The career of a carpenter, enterprising go-getter and incorrigible optimist who always made the best of the changing situations in his life.

About the son of an agricultural functionary who helped enforce the socialist order in Philadelphia in Brandenburg, then in Golzow (Oderbruch) and finally in Bernau near Berlin. Jochen therefore went to school in Golzow for only one year. He became a milker, was a border guard, married and lives with three children in Bernau. Just as disappointed with the GDR as he was with its fall, today he is even with all politics.

Bernhard Oestreich, called Bernd, son of one of the leaders of the Golzow LPG, did not stay in the countryside, but also turned down the opportunity to graduate from high school in order to study. He should have become a professional soldier. Married with two daughters, Bernd went into big industry, became a laborer and is still as needed today as a foreman at Raffinerie AG Schwedt (Oder) as he once was at VEB Petrolchemisches Kombinat in the days of the GDR. Much has changed in his life, but what has remained is the work in three shifts.

The first two parts of the 19th film are about five former pupils. Two of them already made themselves known through the "CVs" of 1980: Ilona, the electronics worker and later youth functionary in Frankfurt (Oder), and Winfried, the graduate engineer for electronic device construction, who was then also commander of the combat group of his company, the Gröditz (Saxony) pulp mill, and now lives temporarily unemployed in Augsburg. In addition to Ilona and Winfried, who were politically active, the new film portrays Jürgen, Petra and Christian. Their cinematic lives are shorter, because the documentarians had long lost track of them. Now, over 50 years old, Jürgen, initially trained as a painter and upholsterer and now a transport and warehouse worker in Manschnow (Oderbruch), and Christian, an agricultural machinery fitter and now an in-house technician at the Kreditanstalt für Wiederaufbau in Berlin, were willing to be filmed once again.

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.

Young women made up only five per cent of students at the technical college in Ilmenau. The film devotes itself of this particular situation by conveying impressions of the women's everyday lives.

This first co-production between the GDR and Great Britain is intended to contribute to an understanding of the situation and attitudes of millions of working people in opposing social orders. Using the example of shipyard workers, fishermen, the brigade and family of a trade union active cook and unemployed person of various ages and professions in Newcastle on the one hand and a brigade of crane operators of the Warnowwerft and fishermen of the Warnemünde cooperative on the other hand, insights into the way of life and attitudes of people of our time are to be conveyed.

Löffler, a young teacher, strives to deal with his 6th form pupils as partners and in an anti-authorian manner. The film discovers a person who - without the least fear of making mistakes - distrusts the prevalent way.

The different life paths of former girlfriends from Catholic and Protestant homes respectively - one a draftswoman, the other a chemical laboratory technician - in two interrelated films, in which love, like the demands and attitudes to life in the change of its foundations in the process of the decline of the GDR and its accession to the Federal Republic of Germany, play a special role.

The first life story of one of the "children of Golzow", continued beyond the "Wende" as an independent feature-length film, which tells of the career of the first hero of our first film, using the rich material available from Jürgen, who became a painter and upholsterer, and "his" Golzow, where he still lived at the time.

The first summarizing film about the path of the class and the common stations in life. But also about the different paths in the profession, in love, marriage and family. As well as a soldier. A group chronicle, viewed from the historical distance of the 35th year of the end of the 2nd World War and after 18 years of shooting in peace, which ensured everyone the first human right: they were allowed to live.

They are now no longer children. Young citizens distinguish themselves. The time before the Jugendweihe and its celebration. They visit Weimar, the former Sachsenhausen concentration camp, the Schwedt petrochemical combine, and decide to go into business after the eighth grade, stay until the tenth, or take the Abitur in the district town.

The final exam of sixteen and seventeen year olds at the end of the 10th grade. The individual in the minutes in which he is supposed to show what he can do and who he is. A last class party before the community ends and one goes apart.

A class reunion of the twenty-somethings in the old school. What one remembers, what the individual has new to tell. One of them: Marieluise. Her love, her work, her demands on herself and the world into which she is coming of age.

The children of Golzow, six or seven years old, in kindergarten. Their enrollment in school together, the first days of school. Playfully learning the first letter. Conflicts between wanting and having to.

How the class community is formed. The children's environment and the experiences and discoveries that the school gives them. They are reflected in the lessons. At the end of the school year they receive their first report card and are "Young Pioneers".

On one very fine sunny day, a fourth-grader Thomas, as always, is out of the house in the morning to get to school by subway. But on this day he has a too good mood and that, along with the good weather, prevents him get to the lessons. He decides to skip his station, and take a walk through Berlin.

Documentary short about the construction of the Markersbach Pumped Storage Power Plant in East Germany.

The first two parts of the 19th film are about five former pupils. Two of them already made themselves known through the "CVs" of 1980: Ilona, the electronics worker and later youth functionary in Frankfurt (Oder), and Winfried, the graduate engineer for electronic device construction, who was then also commander of the combat group of his company, the Gröditz (Saxony) pulp mill, and now lives temporarily unemployed in Augsburg. In addition to Ilona and Winfried, who were politically active, the new film portrays Jürgen, Petra and Christian. Their cinematic lives are shorter, because the documentarians had long lost track of them. Now, over 50 years old, Jürgen, initially trained as a painter and upholsterer and now a transport and warehouse worker in Manschnow (Oderbruch), and Christian, an agricultural machinery fitter and now an in-house technician at the Kreditanstalt für Wiederaufbau in Berlin, were willing to be filmed once again.

A feuilletonistic conversation with the movie audience about the question: How do you feel about going to the movies? In general - and especially in summer? What do people expect from movies these days and what criticism do they have on their minds? The interviewees are vacationers of all ages and tastes. The occasion and background for this not entirely serious survey is the 1965 Summer Film Festival, which is captured in a cheerful reportage style. Interviews with actors on the festive opening evening and climax of the film confirm that there is only a relative cinema fatigue. It depends on the quality of the film on offer.