Writing
Polizeiruf 110 is a long-running German language detective television series. The first episode was broadcast 27 June 1971 in the German Democratic Republic, and after the dissolution of Fernsehen der DDR the series was picked up by ARD. It was originally created as a counterpart to the West German series Tatort, and quickly became a public favorite.
Tom, a 17-year-old window design apprentice, dreams about true love. One day, a new girl from East Berlin moves to town. Tom has a crush on her and will do anything to impress her. When he finds out that she plans to become an actress, he even discovers the aspiration to perform himself. For a while, Tom is on cloud 9.
Six directors, one film: in episodes, they recall their experiences at the end of the GDR and the fate of a family under National Socialism. They talk about making films despite censorship, about the search for opportunities. They tell of losses, of leaving, of staying and of love in exile. A film about the longing for home and the endurance of friendships.
The architect Daniel Brenner is in his late thirties when he receives his first challenging and lucrative commission: to design a cultural center for a satellite town in East-Berlin. He accepts the offer under the condition that he gets to choose who he works with. This way, he reunites with former colleagues and friends - most of them architects or students of architecture who have since chosen a different profession due to personal restraint or economic confinement. Together, they develop a concept which they hope will be more appealing to the public than the conventional and dull constructions common to the German Democratic Republic. However, their ambitious plans are once and again foiled by their conservative supervisors. As frustration grows, Daniel has trouble keeping his career in balance with his family-life: his wife Wanda wants to leave for West-Germany.
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The time is the French Revolution; the place is the village of Travers, ensconsed in neutral Switzerland. Prussian aesthete Herman Beyer is on the verge of divorcing wife Corinna Harfouch. Radical writer Uwe Kokisch, Corinna's lover, hopes to find a way of smoothing out animosities. What follows, however, is a nonstop drinking binge. The film subliminally addresses the then-prevalent issue of a divided Germany. Whether or not it succeeds is unimportant; Treffen in Travers (Reunion in Travers) has proven to be a crowd pleaser wherever it has been shown.
Two years ago, cinema poster painter Jonathan had agreed in his divorce to leave the sole custody for his son David to David′s mother Ruth. But at the boy′s ninth birthday, Jonathan all of a sudden returns to their house. In the meantime, Ruth has found a new Partner, Franz, whom David has accepted as his surrogate father. Although everybody tries to solve the new situation with a lot of tolerance, Franz and Jonathan become rivals. But this rivalry comes to an end when David has an accident. Now, the boy is allowed to visit his father Jonathan on the weekend whenever he wants to. But before that, David goes on one last adventure: On a trip to a vacation camp, Jonathan "kidnaps" his son to spend several days hitchhiking alone with his son. Then, he gets him back to the vacation camp.
Seven directors remember their childhood and youth; to the 50s and 60s in the GDR. They appear to be curious, vulnerable children and teenagers who also want to be cool (even though the word doesn't exist for them yet). They live in well-adjusted or resistant families. Some only in half because their father left for the West. Depending on their family background, they want or should help build the new, better Germany.
