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At the beginning of the Bosnian war. Serbian Milan and Bosniak Halil were best friends. Now they face each other as enemies - in that tunnel where they played together as children. A controversially discussed film that depicts the wartime with black humour. The film tells the story of the Bosnian war through the friendship between a Serbian and a Muslim boy. In their childhood they often played in the orphaned "brotherhood and unity" tunnel. They thought there was a man-eater in it. Years later, during the war, they face each other as enemies - and the tunnel becomes a grave. The film was shown at international film festivals, where it was controversially discussed. It reflects the national-religious attitude of the 1990s that still dominates Serbia today.
The Marie-Seebach-Stift in Weimar is an old people's home for German stage artists. Old people can tell a lot, artists in particular. Of stage life, marriage, Nazi times - Franz Lehar, Richard Tauber, Emmy Göring. There's nothing unsaid in the air. The camera becomes a silent witness. The historical Marie-Seebach-Stift in Weimar, a nostalgically beautiful old people's home for German stage artists. Misselwitz approaches the inhabitants in her own way; gently, turned towards, through small details, ready to respond to every open word, to ask further, to reach deeper layers of memory. Old people have experienced a lot, can tell a lot, artists in particular. But some things are locked up in pain or horror. Stage life, marriage, illness, Nazi times. Franz Lehar, Richard Tauber, Emmy Göring. And again and again the view from the window to the Ettersberg. KF
Sophie (Rosel Zech) is desperate. Having just lost her job and without hope for better times, she tries to find a safe refuge in her love for Sergej. However, the Russian deserter and Sophie's family is a thorn in the side. A story about the longing for change - and the fear of it. Sophie's world dissolves: her workplace disappears, time stands still in the small town, but leaving is out of the question for her. Her hidden love for the Russian deserter Sergey touches the foundations of her family, with whom she has a paralyzing dependency. With great visual power, the film tells a touching love story amidst decay and decline - a valid snapshot of the aftermath. With the figure of Sergey, he also draws attention to those soldiers of the Soviet Army who perhaps only really became visible at the moment of their disappearance.
Two-party relationships - be it with the husband, with the lover or with the dog: at some point routine creeps in when dealing with each other. That is probably simply in the nature of the thing or the human being. But when the eternal rut can no longer be stopped and "over and over again" causes dizziness, stress or anger, then a changed rhythm can provide variety. Duscha Kistler
A millionaire and a Nobel laureate burst into the wedding preparations of Olja and Kostja - a young couple in the Russian province. And nothing quickly returns to the way it was before. Konstantin Wassilyevich Smirnov has become a millionaire in the USA and his son recently received the Nobel Prize. Now they visit their homeland in the Russian province. There the daughter of Smirnow's first love wants to marry, Smirnow takes over the preparations of the celebration without further ado. His son in turn is much more interested in the bride herself and so things take their course. The film shows the Russia of the 90s as a country of social contrasts, in which dreams are desired and fairy tales seem possible. CR
Warsaw 1943: Jewish woman Irena can escape arrest and disappears with her former lover. The situation becomes more acute and ends in a decision for humanity, or against it. The Polish grandmaster Andrzej Wajda filmed the literary model of Jerzy Andrzejewski. Warsaw 1943: In April there is an uprising in the Warsaw Ghetto. The Jewish woman Irena Lilien can only barely escape imprisonment by the Gestapo. She finds shelter in the apartment of her former lover Jan Malecki and his pregnant wife Anna. While the young woman supports Irina, Jan begins to doubt the correctness of his decision. But he doesn't manage to ask Irina to leave again. The residents of the house are also concerned about their own safety. The situation slowly gets worse and ends in a decision for or against humanity. The German-French-Polish co-production from 1995 is based on a story by the Polish writer Jerzy Andrzejewki, who also wrote the novel and later the screenplay for Wajda's award-winning work POPIÓŁ I DIAMENT (1958). As early as 1968 Wajda Andrzej commissioned Żuławski and Jerzy Andrzejewski to write a script version. But Jewish issues were taboo at a time when the Communist regime was driving anti-Semitic smear campaigns. In 1995 Wajda filmed the story and focused on the behaviour of the Polish population during the persecution of the Jews. Sensitively he shows what personal morality remains in this time. DK