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The unity of East and West Germany was already anticipated in 1969 - in a WDR television satire. Through a border correction, a fictitious East German village is found overnight in the West. A similar scenario as after the fall of the Berlin Wall takes place - only twenty years earlier. As early as 1969, a WDR television film simulated the unity of East and West Germany. The setting for this satire is the fictitious East German village of Dubrow in Wendland, on the inner-German border. One night the border troops of the GDR implement an order for border correction. And the next morning the Dubrovs are on their way east in front of a border fence. Great confusion, then the U-turn to the west - there the border fence is gone. And what then begins, everyone somehow knows from the winter of 1989/90. The story by successful author Wolfgang Menge († 2012) was embedded in an equally fictional retrospective round of discussions of those days, after the border had been rectified and Dubrow was once again East German. Eberhard Itzenplitz, from Brandenburg and director of Tatorten and BAMBULE (1970, author Ulrike Meinhof), ensures the surprising authenticity of the characters. KF
The film, freely adapted from Jonathan Swift's novel "Gulliver's Travels", leads the hero with much sarcasm into the strange land of Balnibarbi, which reflects the absurd everyday life in a dictatorship. The people here are no longer interested in the truth, they prefer to follow absurd rules and live their accustomed life in self-deception. The strange rules and laws of Balnibarbi, such as a weekly ban on speaking, have been enacted by "those up there," more precisely, by the king who lives in Laputa, a mysterious capital that floats high above the country. Gulliver manages to get there - he discovers that the king left the city a long time ago. But the inhabitants of Balnibarbi do not want to hear this, they condemn Gulliver to death. The film, full of allusions to the absurdities of everyday life in an occupied country, was made in the short time when there was no more censorship in socialist Czechoslovakia, but after only a few screenings it was banned. His sarcasm, surreal playfulness and deep black humour were once again considered hostile to the system by the rulers after the end of the Prague Spring. For director Pavel Juráček this meant a ban on work and emigration. CF
The foreign trade merchant of the GDR, Kaspar Mai, was a foundling. Now it turns out that he is a prince of Hohenlohe-Liebenstein. A film with irony and wit as well as small side blows on the way of life in both German states. On a business trip Kaspar Mai visits the castle of his fathers in the FRG, on whose property a NATO airfield is to be built, and helps his grandmother to prevent this. The message, not ancestry, but social conditions shape people, the film conveys with irony and wit as well as small side blows to the way of life in both German states. FBH
Ironically, "The Dreams of Centenarians" was created as a contribution to Lenin's centenary. It was the easiest way to get permission to film old people (some of whom were actually a hundred years old). The filmmaker also fulfilled the requirement of Soviet censorship, according to which the interest had to be focused primarily on people from the working class, not the intelligentsia - Robertas Verba's centenarians are ordinary people from the Lithuanian country. Nevertheless, the film failed the ideologically trained critics of the time: because of its "unsightly" choice of theme (which contradicted the USSR cult of youth and fitness) and its "lack of optimism".
Yorick and Andrej escape the war trauma of their past and flee into a carnivalesque parallel world. When Marta joins them, a three-way relationship emerges that oscillates between madness, naivety and anarchy. But under the free-minded, cheerful surface slumber quarrels, violence and almost sadistic outbursts of hatred. Second part of a trilogy about the zeitgeist of the "Prague Spring". Second part of Juraj Jakubisko's trilogy about the zeitgeist of the "Prague Spring": Yorick and Andrej escape the war traumas of the past into a carnivalesque parallel world. When Marta joins them, a three-way relationship emerges that oscillates between madness, naivety and anarchy. But under the free-spirited-happy surface slumber quarrels, violence and almost sadistic outbursts of hatred. In associative collage, the breaking points of the drop-out self-understanding in the sixties are reflected as well as the displacement reflexes in the "normalized" ČSSR. BB