How can a woman love a man without denying herself? Can two women love the same man without tearing each other apart? Can a man love two women without lying? What dilemmas will families and friends of the parties involved have to endure? To this day these are recurring and often painfull questions.

Most women work harder than men. They do the things they want to do when they have already spent sixty hours working on something else. Edda is tough, like so many others. These are the words of Helke Sander, who both directed and played the leading role in her first fiction feature, which reveals three days in the life of a woman and photographer - and three days in the life of West Berlin in March 1977.
Edda works as a freelance press photographer, usually on commission earning little for uninteresting jobs: taking pictures of cocktail parties, meetings, and reunions. She struggles to maintain her commitment to herself as a woman, artist and single mother, and to support herself and her daughter financially and spiritually. She joins a small team of photographers who have been commissioned to take pictures of West Berlin. The women approach the wholeness of the divided city with a critical eye, much to the chagrin of the men who meant to exploit feminism for profit while promoting West Berlin to attract business investors.
Sander's film is a brilliant yet subtle meditation on representation - how to visually and aurally depict both women in their personal and professional lives, and Berlin in its dialectical process of being a city; the film questions the construction of identities of both women and the city in conflict with common perceptions about them.
Her film proved a great success at the International Young Film Forum in Berlin in 1978 and is anything but a tearful lament on the situation of a woman who pays for her independence by restricting her other needs in life, her political and private interests and plans, to an absolute minimum. Helke Sander presents the everyday life of her stressed heroine with a great deal of irony and sympathy and just as much remoteness.
Because Edda's life is representative of that of most modern women, she is a figure with whom the viewer could identify if the director did not always carefully undermine any tendency towards illusionism, be it through her comments, her citations from films and literature, by inserting newspaper excerpts and radio broadcasts and above all through the pictures of Berlin, the Wall, the refuse, the piles of rubble and the graffiti.
This women's film is simultaneously about Berlin, a city that is torn asunder in the same way as the heroine's life, a life in installments.
"In bits, yet complete, because everything is complete and if you break it into parts, it will become complete again, each part for itself" - East German author Thomas Brasch who emigrated to the West in 1976. (Annette Meyhoer)

At the end of the 1960s the post-war generation began to revolt against their parents. This was a generation disillusioned by anti-communist capitalism and a state apparatus in which they believed they saw fascist tendencies. This generation included journalist Ulrike Meinhof, lawyer Horst Mahler, filmmaker Holger Meins as well as students Gudrun Ensslin and Andreas Baader.
Their protest against the state led to the founding of the Red Army Faction (RAF). Constructed entirely from copious film and audio material, the film describes – without commentary – their gradual transformation and increasing politicisation until they take up armed resistance; it also describes the reactions of the government of the Federal Republic of Germany at the time. Jean-Gabriel Périot’s award-winning short films make elaborate use of archive footage in order to create incisive commentaries on violence and history. Une jeunesse allemande marks his first feature-length film. His work offers an outsider’s view of the Federal Republic of Germany in the RAF era; it also provides a lesson in radical behaviour and society’s reactions to it that is alarmingly topical, although the circumstances may have changed. berlinale 2015

From the 1950s onwards, Erika and Ulrich Gregor brought countless film historical milestones to Berlin and shaped cinema discourse in post-war Germany. A look at the life and work of the couple without whom Arsenal and the Forum wouldn’t exist.

1973年，维贝克·洛克伯格在阿森纳尔电影院举办的首届国际女性电影研讨会上，捕捉了女权主义电影运动的最初时刻。这些珍贵的影像资料消失了50年。今天，当它们重见天日时，提醒我们许多过去的斗争仍未得到解决。

“Six young people move through a city in order to establish the starting point of their joint action. But they can’t agree on the topic. In the end everybody goes their own way and leaves the city.” - Hartmut Bitomsky