Why this film document about a street in East Berlin is the way it is, why it conveys an almost touching, basically unformed honesty and perplexity, is due to the specific institution it was made for. The State Film Documentation was founded to provide the GDR with uncensored testimonies of its own reality. Three long-time residents look, through notoriously draughty windows, at the notoriously chilly German-Jewish history: Herr Miegel, former pub owner, Frau Kramp, former cinema employee, Mischket Liebermann, writer and GDR cultural politician. They have been neighbours in their district forever. They will probably remain strangers to each other forever.
On 29 April 1959, Hessian Broadcasting transmitted an alarming survey of the Federal German school system. The first of three parts of the report “Focus on Our Youth” investigates the question of what has stuck in the minds of higher form students about Hitler’s and Ulbricht’s Germanies. Hesse under Polish administration? Hitler sold badges to come to power? At least they are about right concerning the number of murdered Jews – that is, the third who could think of anything to say about this at all. One television critic rightly pointed out that this represented the sum total of all parental table talk. But were these parents watching television on 29 April 1959?
While the communist authorities decide the conditions for an official registration of the Solidarność movement inside, the masses demonstrate in front of the court outside. A contemporary document of the moment when the power of the people seemed to make a lasting cultural opening no longer just a promise but a possibility. At the time, “undesirable” at the Leipzig festival.
“Stay calm and level-headed!” Endless armoured convoys, radio stations broadcasting their potentially last announcements and the Slovak Communist Party meeting Czech party representatives. Shaky images and wailing sirens testify to the tension as Warsaw Pact troops march into Bratislava, too, to suppress the Prague Spring.
The inauguration of the “National Buchenwald Memorial”, the first national memorial of the GDR, took place in 1958. The monumental site was also meant to demonstrate the state-supporting importance of a selective culture of remembrance, commemorating the communist resistance fighters – and omitting the fact that the graves were mainly filled with Jewish victims. In 1961, DEFA completed this “introductory film”, commissioned by the Buchenwald committee, which talks about Goethe, Schiller, Thälmann, but only very marginally about Jews. Every visitor’s memorial tour started with this until 1975. Its scriptwriter and production manager was the playwright Heiner Müller, a fact that was not known until 2004.
Workers reconstruct a railway bridge and Eva Fritzsche reconstructs the process behind it – by re-enacting what she couldn’t film, supported by the participants, who re-play themselves. The film sings the praises especially of those whose commitment was held in low esteem: young people who even give up playing football, and women who suddenly find themselves working in the factory. “Women as blacksmiths, what a joke!” a job centre employee sneers. This echoes what Eva Fritzsche herself had to listen to at DEFA: “Women don’t make films!” Yes, she did – and created one of the most impressive testimonies of the years of reconstruction.
On 23 August 1989, the people in the Baltic states demonstrated their solidarity against the Soviet occupation and took to the streets for their sovereignty. They formed an over 600-kilometres-long human chain stretching through Lithuania, Latvia and Estonia. Touching images of a one-of-a-kind event, captured in a lyrical composition.
