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ALARM IM KASPER...

1960 /
For grandma's birthday there is a lot going on in the Kasperletheater, because there are pancakes. And they like Kasper, Gretel and Co. very much. But the devil steals the whole bowl from them - and then has to complain about abdominal pain.

Die Kumpel von...

1960 /
A wrestling match at the steelworks "8. Mai 1945" in Döhlen near Freital. The party convention's decision to double production by 1965 seems unattainable in view of the unspeakably hard work on the blast furnace. The tinkering steelworkers step onto the scene, the party leadership intervenes and gradually production becomes more effective and work processes are automated ... A popular subject of the art of those years with corresponding pathos. - Grit Lemke

Muzykanci

1960 /
The musicians of a company brass band rehearse enthusiastically for the performance. Kazimierz Karabasz not only lovingly captures all the details, but also paints a completely unheroic picture of the working class. Groundbreaking in many respects. Goldene Taube in Leipzig 1960 and the most awarded Polish documentary film to date.

Nikt nie woła

1960 /
A town in Lower Silesia shortly after the Second World War. In the depopulated German Habelschwerdt, now Zielno, overcrowded trains of Polish resettled people arrive. With them the young Bożek. He wants to finally find peace here after the war. With any luck, the neat Lucyna could help him. Trains to the roof full of Polish resettlers: After the end of the Second World War, Poles were transported on a massive scale from East to West in order to repopulate the depopulated German territories after the border shifts. One of the passengers is the young Bożek. In the hustle and bustle of the station he gets to know Lucyna - his glimmer of hope, which could match the newly won hut. But that would be too easy. Because Bożek is on the run: until recently fighters of the home army against the Nazis, he now does not want to shoot at the "Reds". An issue that is also hotly debated in Poland today. The constant fear always in the neck does not let Bożek come to the peace. Kazimierz Kutz not only deals with an important subject in Polish-German history, but also presents a masterpiece á la Nouvelle Vague. The black-and-white images, the sound and cutting rhythm form an optical-acoustic symbiosis against a marauding post-war backdrop. JG