Words of the poet Mahmoud Darwish float through this film: “Tell me. Perhaps I will remember my home whose perfume is only on my lips.” A 17-year-old Palestinian introduces herself: Aida, the returning one. When her father was killed in battle, her mother was already dead, killed by a bomb. When she was eight, she was sent to a PLO orphanage in Beirut, then to an orphanage in Damascus, then to an orphanage in Tunis. Here she takes care of new orphans. The portrait of a girl expands: countless children who will forget their homeland and origin. There is nothing but war left in their drawings. The PLO had assigned its collaborator Marwan Salamah to study cinematography at Babelsberg. Here, he is also the director. In 1985, “Aida” won the Prize of the World Federation of Democratic Youth in Leipzig.

It was only long after the end of the GDR that the Leipzig audiences had an opportunity to get to know the work of John Smith, the British master of the trenchant, short artist film that continues to expand enormously in the mind. The ideas of conceptual art and structural minimalism prevalent in the 1970s have influenced his works, which he sees as documentary films according to John Grierson’s definition, as “creative treatment of actuality.” In his view of the world details are highlighted which then cease to be taken for granted. In “Associations”, he recites a text by the linguist Herbert H. Clark. Words conjure up matching images, but mean something different. An experience that could also be had in the “actually existing socialism” of the GDR.