Sabine Herpich

For the first time in six years, Barbara Morgenstern, pioneer of German-style electronic intimate pop, works on a new album. Her laptop sits on a shoebox, in the privacy of her home she finds first lines and harmonies: “I like to be alone,” one song begins. One by one, musicians join her. Intuitive ideas take shape. A window has opened. Arrangements, rehearsals, recordings follow. Step by step, the music enters public space, images are produced, videos, narratives. Questions arise: New beginning or back to the roots? New Biedermeier or tough political comment? The bigger the band, the riskier the booking. The more crisis-ridden the environment, the more comforting the music-making.

Around the year 2000, I was looking for a house in the countryside around Berlin. After two years, I found a former farmhouse and started renovating it. In the centers of the surrounding villages, enamel signs from socialist times were attached to walls and pedestals: “Death March April 1945” - with a red concentration camp triangle, a simple map with the route and a slightly abstract row of shaven-headed prisoners. Sometimes flowers were planted in front of them.

At the Mosaik art studio in Berlin, artists with disabilities are able to produce their work unhindered. Sabine Herpich focusses on the artistic process and finds in so doing a form as precise as it is tender.

Documentary about the creation of a painting.

A man wants to visit his ex-girlfriend

No description available.

Documentary about social services for young men.

Documentary about an artist who is also a shoemaker.

Documentary about immigrants living in Germany.