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)

A red flag is carried through the busy streets of Berlin by a team of relay runners. The relay, in which a total of 15 individuals take part, begins in Schloßstraße in the district of Steglitz. Among the runners and flag bearers are Thomas Mitscherlich, Holger Meins and Gerd Conradt. The procession takes Rheinstraße, Hauptstraße and Dominicusstraße en route to its final destination in Berlin-Schöneberg. Under the astonished eyes of passers-by, the final runner raises the red flag on the balcony of the city hall building, the seat of the government of West Berlin.

《主观因素》是一部很个人的影片，德国著名女导演海科·桑德根据自己的亲身经历，以混合了故事片和纪录片的形式，向我们展示了东德二十世纪六十年代末（1967 －1970）的政治背景、社会状况和重要政治事件。
所有这一切都是透过片中女主角、一个年轻的单身母亲的主观视角观察的： 在她积极参与德国妇女解放运动的过程中，她亲历妇女解放的努力以及当时社会中的其它政治运动，设法解决社会中的问题，同时又有新的问题产生。女主角的主观世界不断地接收、认识和理解社会中所发生的一切，思想也随之慢慢改变。

Superbia — The Pride is the first of the Seven Deadly Sins.
The introduction is made thorugh early allegorical forms and figures (triumphal procession, dance of death, Baroque tragedy etc.) The triumphal procession of the giant haystack as a symbol of human vanities becomes a military parade of abrupt, functional and arrogant gestures. The most diverse musical fragments and rhythms intone the montage of details in the staged triumphal procession, juxtaposed with documentary images, including marches, ticker-tape parades and military review.

192 min

Helke Sander portrays Irene, a single mother and worker in a washing machine factory. In everyday life, she doesn't put up with anything, neither the unequal treatment at work nor the sexual harassment by men. But one thing is clear: without solidarity among her fellow women, she will not stand a chance.