Hanna Laura Klar

With her slap of the Federal Chancellor Kurt Georg Kiesinger in 1968, Beate Klarsfeld abruptly got known worldwide. The film highlights the significance of this act and its background. Beate Klarsfeld, born in Berlin in 1939 as Beate Künzel, is primarily known to people as "the woman with the slap" and as the Nazi hunter. In 1960 she went to Paris and met her future husband Serge Klarsfeld, whose father was deported to Auschwitz and murdered there. She was confronted with the darkest part of German history, about which she had learned nothing at school. Serge gave her books to read and made her actively deal with them. Since then, she has not let go of dealing with the crimes of the Nazi era. For them, it was always about "responsibility, not guilt".

Two friends, two Viennese, two poets, two unusual women. They have known each other for 30 years. Elfriede Jelinek is the better known of the two, the great author with her analytical mind and her social commitment against the whole "politician's docks." The now deceased lyricist Elfriede Gerstl remains rather tender with her poetry, although her poems do not miss a certain amount of sharpness, albeit ironically packed. When the two Elfrieden sit in their Viennese coffee house and drink the little brown, they usually talk about clothes, they talk about the fashion that Elfriede Gerstl has just collected again.

One of the two documentaries portray theater director Einar Schleef in Vienna and New York, alternating between observations of his work and interview segments in which Schleef reflects on theater and culture in general. Other individuals also have their say, notably Elfriede Jelinek.

The weaker sex must become stronger - but how can this be achieved? The central keyword of the six filmmakers Claudia von Alemann, Susanne Beyeler, Erika Runge, Helke Sander, Ula Stöckl and Hanna Laura Klar is: emancipation. Together, they will discuss the importance of films for feminist consciousness-raising and the role of female filmmakers in this process. A statement will be followed by an exemplary feature film scene. Claudia von Alemann talks about the unequal division of housework and advocates the remuneration of this work. How can the relationship between work and family be improved for working women? What about bringing up children? What steps are necessary to overcome the unequal gender order? One thing is clear: Film work is political practice.

One of the two documentaries portray theater director Einar Schleef in Vienna and New York, alternating between observations of his work and interview segments in which Schleef reflects on theater and culture in general. Other individuals also have their say, notably Elfriede Jelinek.

A portrait of the writer Richard Plant. Since he was already so ill during filming that he could no longer appear on screen himself, Alexander Karp portrays scenes from his life.

The story of two women who fled from East Germany to West Germany.

A cinematic, intimate portrait of Alice Ricciardi-von Platen, a psychoanalyst, in her home in Italy. The doctor was the last surviving member of the commission that observed the Nuremberg Doctors' Trial in 1946. In the film, she recounts the horrors of human experimentation in the concentration camps and the euthanasia program.

Sophie’s sister—that is Elisabeth Hartnagel, the last of Sophie Scholl’s siblings still alive at the time of filming (she died in 2020 at the age of 100). In front of the camera, she recalls her family and, in particular, her siblings Hans and Sophie Scholl, two of the key members of the White Rose resistance group.

Alexandra Kluge, one of the defining actresses of New German Cinema, died on June 11, 2017, in Berlin. Hanna Laura Klar gives a voice to her famous brother Alexander Kluge, her son Andro Steinborn, and numerous friends and colleagues, revealing the two lives of an extraordinary woman and friend. As Dr. Karen Steinborn, she was just as charismatic as she was as the actress Alexandra Kluge in her brother’s films.