After discussions with Schwartz, a producer from the West, screenwriter Stefan comes back to Poland. Everybody reminds him of his previous success: “The Flame”. The tired protagonist goes back to his wife, actress Ewa, who is eagerly awaiting him. Ewa goes to an audition which doesn’t turn out too well. On the next day, Stefan and his collaborators are wondering what to write a scenario about. Meanwhile, Stefan has a tooth ache. He decides to visit a dentist but is scared away by the price he has to pay for the treatment. Stefan still can’t find an idea for a scenario, and Ewa is not being cast. They decide to sell the car, but a man who takes their car out for a test drive doesn’t return. Stefan is changing ideas for the scenario constantly, he can’t make up his mind… at home, a pipe goes off… the wine he keeps in gallons blows up… the milicia (People’s Republic of Poland’s police) comes and general chaos ensues, as they are drowning in water and wine… which gives Stefan an idea…

In 1931, just before the New Year, in a house of architect Henryk Zaremba scream rips the night. The daughter of Zaremba is found killed in her bedroom, obviously killed with a pickaxe. The police arrives and starts the investigation. Rita Gorgonova, the governess of the girl and also lover of Zaremba becomes the main suspect.

Based on a non-fiction bestseller of the same name by Rolf Hochhuth, Eine Liebe In Deutschland is about a tragic and forbidden love affair between Stanislaw, a Polish POW (Piotr Lysak) and Paulina (Hanna Schygulla) a fruit-and-vegetable vendor in a small town in Germany along the border with Switzerland. Their affair would have gone undetected except for the busybody women of the village, and when Stanislaw is picked up by a German stormtrooper (Armin Müller-Stahl) and brought in for a mock trial, he is given a chance to prove his racial purity and so perhaps escape execution. As for Paulina, she is ostracized by the villagers and imprisoned for consorting with someone who was not of the same high Aryan caste as herself. Depressing, yet politically relevant to Poland of the early 1980s, this film by acclaimed director Andrzej Wajda) is an effective and emotional statement on the nature of oppression.