Advanced search
- TITLES
- NAMES
- COLLABORATIONS
Search filters
Enter full date
to
or just enter yyyy, or yyyy-mm below
to
to
to
Exclude
Only includes titles with the selected topics
to
In minutes
to
1-9 of 9
- The story of Regina Jonas found me. The world's first woman Rabbi lived in Berlin of the 1930s, and her greatest dream was to become a Rabbi. She felt that she was born to be a Rabbi, but women were barred from becoming a Rabbi according to the Jewish laws. I was deeply impressed by her short life story, which was full of struggles. But how can I tell her story, when there is one surviving photo of her and only a few letters? That was the challenge. Rachel Weisz as the inspiring figure Regina, makes this story complete. The use of archive and experimental editing technique adds a magical layer which pulls the audience into this unique story.
- "Whose city?" is a film about Berlin's urban development since 1990.
- Conservative architecture policies in Dresden has in significant ways helped pave the way for the right-wing-surge that currently plagues the city.
- Last Exit Alexanderplatz is a film about the ongoing, but politically disputed and so far unsuccessful attempt to transform the former East-German Alexanderplatz into a high-end, Manhattan-like business district. Through interviews with the architects and politicians, who were involved in the competition held for the square in 1993, the film highlights the dogmatism and insensitivity that characterized much of planning in post-reunification Berlin. But it also depicts a square, which despite the failures and missed opportunities of the 1990s, seems to have regained its foothold in the city.
- Family history of the Sabac el Chers, which begins in 1843 with a small Nubian boy who was given to the Prussian Prince Albrecht as a gift from the Egyptian Viceroy.
- Vi er her / We Are Here depicts three young Danish theatre artists, Anna Malzer, Zaki Youssef and Sargun Oshana, who in different ways challenge both the often harsh discourses on migration in Denmark and the inability of the Danish theatre to adequately deal with cultural and ethnic diversity. By adding the voices of Shermin Langhoff of the Gorki Theater in Berlin and scientists such as the Berlin-based professor Naika Foroutan, and by involving leading Danish politicians and press people, the film paints a picture of a Denmark obsessed with the issue of migration; a society that is still to a large degree driven by a desire to move back in time to the pre-migration days of the 50s and 60s, but where a postmigrant reality has nonetheless already established itself and is now promoted even further by a new generation of artists.