Katrin Seybold

‘The films I make have to get made, because when these people are dead they’re dead and all we’ll have left are Gestapo records, the records of the perpetrators. We can’t accept that.’ This quote graces the beginning of Katrin Seybold’s last film which was finished by her long-standing friend and colleague Ula Stöckl following Seybold’s death on 27 June, 2012.

‘The films I make have to get made, because when these people are dead they’re dead and all we’ll have left are Gestapo records, the records of the perpetrators. We can’t accept that.’ This quote graces the beginning of Katrin Seybold’s last film which was finished by her long-standing friend and colleague Ula Stöckl following Seybold’s death on 27 June, 2012.

‘The films I make have to get made, because when these people are dead they’re dead and all we’ll have left are Gestapo records, the records of the perpetrators. We can’t accept that.’ This quote graces the beginning of Katrin Seybold’s last film which was finished by her long-standing friend and colleague Ula Stöckl following Seybold’s death on 27 June, 2012.

This is the first comprehensive documentary portrayal of the White Rose, the movement led by Munich students and their spirit of resistance to the Nazi regime. Companions, girlfriends, brothers and sisters tell the story of how they supported the distribution of tracts, how they survived Gestapo interrogation and courtroom trials in the Nazis’ Volksgerichtshof.

This is the first comprehensive documentary portrayal of the White Rose, the movement led by Munich students and their spirit of resistance to the Nazi regime. Companions, girlfriends, brothers and sisters tell the story of how they supported the distribution of tracts, how they survived Gestapo interrogation and courtroom trials in the Nazis’ Volksgerichtshof.

This is the first comprehensive documentary portrayal of the White Rose, the movement led by Munich students and their spirit of resistance to the Nazi regime. Companions, girlfriends, brothers and sisters tell the story of how they supported the distribution of tracts, how they survived Gestapo interrogation and courtroom trials in the Nazis’ Volksgerichtshof.

Documentary film.

Documentary film.

Documentary film.

Documentary film.

Documentary film.

Documentary film.

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.

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.

The nine-year-old Sinti girl Brigitta shows us her world. She lives with her family in a caravan site on the outskirts of a small Bavarian town. Everybody still speaks Romani and continues to live by the customs handed down. That means that the children take part in adult life and that the very highly respected parents describe how it used to be. In this community, all age groups live together naturally. For these Sinti, `gypsy' is an insult. At school they are taught there are two cultures, two languages and two realities: that of the Sinti and that of the Germans. While German is spoken at school, the only pupils are Sinti children. Brigitta animatedly describes the material deprivations, which are mollified by the life as `one big family'. Brigitta knows all too well where she belongs.

The nine-year-old Sinti girl Brigitta shows us her world. She lives with her family in a caravan site on the outskirts of a small Bavarian town. Everybody still speaks Romani and continues to live by the customs handed down. That means that the children take part in adult life and that the very highly respected parents describe how it used to be. In this community, all age groups live together naturally. For these Sinti, `gypsy' is an insult. At school they are taught there are two cultures, two languages and two realities: that of the Sinti and that of the Germans. While German is spoken at school, the only pupils are Sinti children. Brigitta animatedly describes the material deprivations, which are mollified by the life as `one big family'. Brigitta knows all too well where she belongs.

Women counselling women. Five thousand renters live in the satellite settlement of Scharnhorst near Dortmund. More than thousand of them are women living alone or with their children. A large percentage of them are on welfare. They need help in asserting their rights vis-à-vis the social welfare authorities. This documentary uses the point of view of a 26-year-old single mother of two to document the commitment of the women’s initiative. “In the group, I realised that I am not the isolated case I always thought I was.”

Women counselling women. Five thousand renters live in the satellite settlement of Scharnhorst near Dortmund. More than thousand of them are women living alone or with their children. A large percentage of them are on welfare. They need help in asserting their rights vis-à-vis the social welfare authorities. This documentary uses the point of view of a 26-year-old single mother of two to document the commitment of the women’s initiative. “In the group, I realised that I am not the isolated case I always thought I was.”

Eleven-year old Jason and his companions, including Hercules and Orpheus, go with the ship "Argo" in the search for the Golden Fleece. With wit and cunning to overcome various obstacles until they reach the destination of their fantastic journey. The experiment is not only due to the popularization or naive glorification of a myth, but the search space occupied by fact that the heroes of antiquity were actually very young.

A Marxist-Leninist space opera.

Documents a one-week meeting of radical leftist activists known as "Knastkamp" (Prison battle), which took place in July 1969 in Ebrach, Bamberg.

Documents a one-week meeting of radical leftist activists known as "Knastkamp" (Prison battle), which took place in July 1969 in Ebrach, Bamberg.