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1962 /
A newspaper editorial office receives information about a religious festival in Kakheti. The tenor among journalists is clear: old customs that have lost their meaning and only serve to get drunk. Everyone agrees, only Gurami doubts: are these traditions really so outdated? Gurami sets out to attend the harvest festival at Alawerdi Monastery. He wants to form his own impression of whether such centuries-old Christian Orthodox customs in the new atheistic Soviet era have become meaningless and have degenerated into mere drunkenness. Arriving at the monastery, he not only observes the celebrating population, but becomes an active part of the festival. The folkloristic and religious productions in the film, which Giorgi Shengelaia shot during his studies at the Moscow Film Academy VGIK, earned him a five-year performance ban. MM

Die Heinzelmänn...

1962 /
Busy brownies perform the heavy dance of industrial work on a daily basis, but also work their way through an idyllic forest and meadow landscape. But the wave of automation is overrunning them and even the recovery is quickly subject to the pace of electronic media. A sharpened criticism of the progress madness of the beautiful new world.


1962 /
Werner Herzog's heroes often have to face special physical challenges. "Heracles" is reminiscent of the mythical hero who had twelve tasks to perform that required special muscular strength. Herzog sets great store by bodybuilders who lift weights and pose in front of mirrors, contrasting this with images of garbage dumps and fighter planes. The 19-year-old director already shot his first work on 35 mm film. He was attracted by the handling of various footage materials, including photographs of "Mister Germany 1962", which he edited with his own pictures. Kristina Jaspers

Meine Erlebniss...

1962 /
Bockwurst on the lunch table, fight drinker at the station kiosk - strange impressions for a young Vietnamese man who studied in Leipzig in the 1950s and later in Potsdam-Babelsberg. An exciting historical tribute by a film student to his host country GDR, and at the same time an early example of intercultural dialogue. In addition to students from other socialist countries, Vietnamese were educated at the universities of the GDR, including the then German Academy of Film Art in Potsdam-Babelsberg. In MEINE ERLEBNISSE one of these students, shortly before his return to Hanoi, draws a conclusion: authentic in gratitude, naive in ideological statement, winking at the observation of cultural differences and budding in the description of intercultural friendships. With which the film emphasizes an aspect that is forgotten behind all justified criticism of ideology and everyday life in socialism: that it was about educating young people so that they can act as educational multipliers in their countries. Training aid instead of brain drain, peaceful utopia instead of hot war - a document also about the ideals of immediate post-war times. BB