This docuseries digs into questions that still swirl around the case. An array of social and professional milieus have grown up at the three prop houses Fundus Studio Babelsberg, Delikatessen Requisiten Fundus Berlin and FTA Props in Hamburg. Each depot has a different logic and its own particular community with its own experiences in dealing with things. Susanne, Miu, Andreas and the male escort norway sex og singel Peters are experts in moving, processing, sorting and presenting up todifferent things. Lamps, cups, male escort norway sex og singel, collection tins, flags, toy fish, plastic flowers, clocks, fake oil paintings and other film props blossom in unimaginable variety. All this stuff changes hands countless times as it migrates from an old-world analogue order to diverse new ones. On the internet film props mutate into descriptions, photos and search terms. In the outside world of »made-up reality« they emerge as quotes from film and TV productions. In docu-fiction the props lead BiPOC actor and activist Thelma Buabeng into postcolonial provenance research in the props house and a daily thing-life of African objects. AUF DER KIPPE tells the story of structural change in Lusatia, traces the arc from the post-reunification period to the present day, shows what moves Lusatians more than 30 years after reunification, what frightens them, what motivates them — with an approach to a future that has only just begun. The film centers around two people who represent musical culture during the Third Reich — albeit in very different ways. Both shared a love for the classical German music. The world-famous conductor made a pact with Hitler and his henchmen. The young woman, brought to Auschwitz for being Jewish, was spared death for her musical talent. German music was used to justify the powerful position the Third Reich claimed in the world, and to distract listeners from Nazi crimes. Archive film footage, restored and colorized, brings the story to life, and bears witness to an agonizing chapter in history. A double portrait of musical figures under the Nazi regime. An update thanks to the colorization of exceptional archives. A demonstration of the universal power of music that recontextualizes the unavoidable question of the impossible separation of the work and the artist. In Augusttwo armed bank robbers keep German police at bay for 54 hours during a hostage-taking drama that ends in a shootout and three deaths. They are the juggernauts of the ocean. Dreadnoughts are war machines that »fear nothing«. Yet, while in June the Treaty of Versailles is still being negotiated in Paris, the German admiral von Reuter secretly orders the scuttling of the entire German High Seas Fleet in Orkney, Scotland. This is the final chapter of WW1. What do people do when nothing works anymore? What do we do with our fears, uncertainties, boredom and the dissatisfaction during lockdown? The »Corona Diaries« by filmmaker Elke Sasse are a global video diary about life with the pandemic. People from different countries document their lives with their cell phone camera: The nurse at the corona ICU in Spain, the lecturer in China, the construction worker in India, the bicycle courier from New York and many others. But at the same time, we experience a new way of working together, with solidarity and ingenuity. A fast paced collage creates an in-the-moment narrative of how the war was won and lost. Hitlerboy Dirk and Goebbels watch their world implode, while Alice fears for her children in Auschwitz and Russian soldier Victor walks through the plundered Chancellery. Giving voice to Soviet, US, UK and French soldiers as well as to the German population anxiously awaiting the outcome of the fighting. BERLIN creates an innovative, comprehensive narrative of how the war was won and lost, how the city was liberated and how it emerged from the rubble. Part 1: bpb. Part 2: bpb. No other work in symphonic literature has undergone such wide and enthusiastic reception. To this day, the most-played work of all time moves people all over the world. The premiere on May 7, was a huge success. To the surprise of the audience, Beethoven had used a choir, a groundbreaking innovation never seen before at symphony concerts.
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