동베를린에서 온 팝 가수 써니는 밴드와 함께 전국 투어 중이다. 평범한 일상을 거부하고 타협할 줄 모르는 그녀는 자신의 개성을 존중해주고 오래 갈 수 있는 관계를 간절히 원하고 있다. 그녀를 위해 노래를 작곡해 준 아마추어 색소폰 연주자 랄프와 사귀기 시작한 써니. 하지만 죽음에 대한 강박증을 지닌데다 불성실한 랄프의 생활습관은 도무지 그녀에게 맞지 않는다. 설상가상으로 평소 그녀를 괴롭히던 멤버와 싸우고 밴드에서 쫓겨나기까지 한 써니는 자신의 삶을 되찾기 위한 투쟁을 시작한다. 써니 역을 맡아 열연을 선보인 레나테 크로스너는 이 작품을 통해 1980년 베를린 영화제에서 여우주연상을 수상했다.
Europe in 1793. For years, England and France have been at war with each other. Now, France sends three men to the British colony of Jamaica to organize a slave revolt. The envoys are Debuisson, the grandson of a Jamaican rum manufacturer, who knows the island very well, his old friend Sasportas, and the sailor Galloudec. After having established contact with the fragmented rebel groups, they receive the surprising news of Napoleon′s takeover in France. Whereas Debuisson, who by now has gotten used to his role as a rich heir, wants to wait for new instructions from home, his companions are determined to press ahead with the revolt. When a slave kills a British guard, the situation escalates.
Fred works as an engineer and a test driver at a car company. His girlfriend Petra is a car mechanic - actually an ideal combination. However, the old-fashioned Fred is less than thrilled about his girlfriend’s "male profession". In his opinion, the masculine job damages her femininity. Since Petra is unwilling to give up her beloved job for such stupid concerns, there is a lot of friction between them. It is not until Petra turns the heads of all the men at a fair that Fred realizes how absurd his objections really are.
High-school senior Peter considers the adults around him to be hypocritical, self-congratulatory, and immersed in the past. He gets suspended for writing an essay that his teachers consider to be a challenge to the state. Just Don't Think I'll Cry became one of twelve films and film projects-almost an entire year's production-that were banned in 1965-1966 due to their alleged anti-socialist aspects. Although scenes and dialogs were altered and the end was reshot twice, officials condemned this title as "particularly harmful." In 1989, cinematographer Ost restored the original version, and this and most of the other banned films were finally screened in January 1990. Belatedly, they were acclaimed as masterpieces of critical realism.
