Ula Stöckl

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.

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A woman experiences psychic disintegration and ends up in a psychiatric hospital.

An impoverished young man from Sicily travels to Wolfsburg, West Germany to find work. He takes a job in the Volkswagen factory after he travels through Northern Italy by train.

Five more-or-less distinct sections, all featuring "Freak" Orlando, a woman played by the late Magdalena Montezuma, who appears in various guises and deformities throughout.

For over half a century, the filmmaker Edgar Reitz, one of the signatories of the Oberhausen Manifesto and a pioneer of epic film narration, has explored, as a practitioner and theoretician, the rules and limits of cinema, which he always seeks to break and extend in new ways. One example of his tireless search and research are the Geschichten vom Kübelkind, which he co-directed with Ula Stöckl in 1969/70, 22 absurdly funny, subversive and anarchistic short films of different lengths, which consciously oppose all conventions, with incredible success. The films remain unrivalled in their Dadaistic inventiveness.

The film comprises a total of six episodes: in each, the authors seek to highlight the personal problems and feelings of three French and three German female filmmakers.

The Dumpster Kid is an artistic creation: in every story society forces her to learn something. But she, fully grown from the moment of her birth, unquestionably learns more than is called for. This extra knowledge, which is not wanted by society, regularly brings her into danger. Dumpster Kid dies in each story, and across each genre. Her stories are set in a whole range of different time periods. What is a Dumpster Kid?

The Dumpster Kid is an artistic creation: in every story society forces her to learn something. But she, fully grown from the moment of her birth, unquestionably learns more than is called for. This extra knowledge, which is not wanted by society, regularly brings her into danger. Dumpster Kid dies in each story, and across each genre. Her stories are set in a whole range of different time periods. What is a Dumpster Kid?

‘The films I make have to get made, because when these people are dead they’re dead and all we’ll have left are Gestapo records, the records of the perpetrators. We can’t accept that.’ This quote graces the beginning of Katrin Seybold’s last film which was finished by her long-standing friend and colleague Ula Stöckl following Seybold’s death on 27 June, 2012.

‘The films I make have to get made, because when these people are dead they’re dead and all we’ll have left are Gestapo records, the records of the perpetrators. We can’t accept that.’ This quote graces the beginning of Katrin Seybold’s last film which was finished by her long-standing friend and colleague Ula Stöckl following Seybold’s death on 27 June, 2012.

In the summer of 1967, journalist Katharina is visited in Munich by her French friend Anne. They take day trips and visit cafés, acquaintances, and parties. In a series of conversations between them and other women, they talk about the chances for female emancipation in a male-dominated society.

In the summer of 1967, journalist Katharina is visited in Munich by her French friend Anne. They take day trips and visit cafés, acquaintances, and parties. In a series of conversations between them and other women, they talk about the chances for female emancipation in a male-dominated society.

In the summer of 1967, journalist Katharina is visited in Munich by her French friend Anne. They take day trips and visit cafés, acquaintances, and parties. In a series of conversations between them and other women, they talk about the chances for female emancipation in a male-dominated society.

Since she was twelve, Helga has had to take responsibility for others. She never learns that she also has a responsibility to herself.

The 24-year-old Ekkehard is shocked by the suicide of Hans Georg, a young man under his care, and moves into his room because he initially believes that the causes of the suicide can be found in this environment. In his search for the reasons, his perception of his own reality changes.

The 24-year-old Ekkehard is shocked by the suicide of Hans Georg, a young man under his care, and moves into his room because he initially believes that the causes of the suicide can be found in this environment. In his search for the reasons, his perception of his own reality changes.

The 24-year-old Ekkehard is shocked by the suicide of Hans Georg, a young man under his care, and moves into his room because he initially believes that the causes of the suicide can be found in this environment. In his search for the reasons, his perception of his own reality changes.

Manfred takes his nephew, Martin, on a business trip to Rome. They stay with Manfred's brother Georg, who lives in Rome. On the way there Manfred and Martin meet Lilo, a girl who is also on her way to Rome.

Manfred takes his nephew, Martin, on a business trip to Rome. They stay with Manfred's brother Georg, who lives in Rome. On the way there Manfred and Martin meet Lilo, a girl who is also on her way to Rome.

The classical Epic is reduced to the bare bones of the action. Despite the seven minutes of turbulent action, it is actually a slow film: in the war against Kreon, one of Antigone's brothers fights for the king, one against him. Both die. One of them is buried; the other is left lying on the street. Antigone goes against the king's wishes and wants to bury her brother. As a punishment Antigone is buried alive behind a wall. Her fiancé, Haimon dies, overcome with grief. Haiman's mother, Eurydike, is so upset by his death that she hangs herself. And just as the old soothsayer predicted, the king himself finds no happiness from all this death: he is killed. That makes 6 deaths, even though the war is over.

The classical Epic is reduced to the bare bones of the action. Despite the seven minutes of turbulent action, it is actually a slow film: in the war against Kreon, one of Antigone's brothers fights for the king, one against him. Both die. One of them is buried; the other is left lying on the street. Antigone goes against the king's wishes and wants to bury her brother. As a punishment Antigone is buried alive behind a wall. Her fiancé, Haimon dies, overcome with grief. Haiman's mother, Eurydike, is so upset by his death that she hangs herself. And just as the old soothsayer predicted, the king himself finds no happiness from all this death: he is killed. That makes 6 deaths, even though the war is over.

Erika and Franziska haven't seen each other for 4 years. 10 years earlier they both felt that they had the same chances in life: both were young, attractive and imaginative. They overlooked what would, right from the outset, separate them: their very different emotional make-up, their different character. In a long nighttime discussion the friends try to clear up these differences - not without some glimmer of hope.

Erika and Franziska haven't seen each other for 4 years. 10 years earlier they both felt that they had the same chances in life: both were young, attractive and imaginative. They overlooked what would, right from the outset, separate them: their very different emotional make-up, their different character. In a long nighttime discussion the friends try to clear up these differences - not without some glimmer of hope.

Omnibus film with 11 short films directed by students of the HfG Ulm

A short film by Ula Stöckl, with Grischa Huber and texts from "Hyperion" by Hölderlin: "I would like to show you a free land, a land full of beauty and full of soul and say: save yourself there!"

In this mystery/thriller based on a novel by Patricia Highsmith, Nico Thomkins (Udo Schenk), a writer, and his wife Helen (Anke Sevenich) are in the habit of playing games with one another. Even while they are breaking up, they are sufficiently in tune with one another to continue this practice. When the writer's wife takes off without leaving a note behind, people begin to suspect that he may have murdered her, and he plays along with this notion to the point of planting clues which would incriminate him. Obviously, no one with a shred of common sense would do such a thing, and these tricks get him into trouble. However, his troubles don't really begin until he starts to search for her in earnest.

Eleven-year old Jason and his companions, including Hercules and Orpheus, go with the ship "Argo" in the search for the Golden Fleece. With wit and cunning to overcome various obstacles until they reach the destination of their fantastic journey. The experiment is not only due to the popularization or naive glorification of a myth, but the search space occupied by fact that the heroes of antiquity were actually very young.

Eleven-year old Jason and his companions, including Hercules and Orpheus, go with the ship "Argo" in the search for the Golden Fleece. With wit and cunning to overcome various obstacles until they reach the destination of their fantastic journey. The experiment is not only due to the popularization or naive glorification of a myth, but the search space occupied by fact that the heroes of antiquity were actually very young.

Angela and Robert have been married for ten years and make a perfect couple. They are madly in love with each other, give each other plenty of space and support each other in everyday life. This idyll is put to the test when Robert's girlfriend Claudia moves in with the couple and Angela falls in love with another man. According to a mutual agreement between Angela and Robert, anything goes if one of them breaks their promise never to leave the other.