Katrin Seybold

Story concerns two friends, Freya and Irmtraut and their relationships with the same man, Traugott, who finds it impossible to choose between the two women.

A Marxist-Leninist space opera.

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.

Documents a one-week meeting of radical leftist activists known as "Knastkamp" (Prison battle), which took place in July 1969 in Ebrach, Bamberg.

Documents a one-week meeting of radical leftist activists known as "Knastkamp" (Prison battle), which took place in July 1969 in Ebrach, Bamberg.

Women counselling women. Five thousand renters live in the satellite settlement of Scharnhorst near Dortmund. More than thousand of them are women living alone or with their children. A large percentage of them are on welfare. They need help in asserting their rights vis-à-vis the social welfare authorities. This documentary uses the point of view of a 26-year-old single mother of two to document the commitment of the women’s initiative. “In the group, I realised that I am not the isolated case I always thought I was.”

‘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.

‘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 film accompanies Linda and Gallier in their everyday lives and gives them space for self-representation: at school, at the family table, at the disco, or in conversations with friends. The racism of the majority society, the pressure to assimilate, and the counterarguments of the two young people and their community members are omnipresent. The parents and grandparents are survivors. Linda summarizes that experiences of persecution and oppression have shaped the strong sense of belonging among the Sinti.

The film accompanies Linda and Gallier in their everyday lives and gives them space for self-representation: at school, at the family table, at the disco, or in conversations with friends. The racism of the majority society, the pressure to assimilate, and the counterarguments of the two young people and their community members are omnipresent. The parents and grandparents are survivors. Linda summarizes that experiences of persecution and oppression have shaped the strong sense of belonging among the Sinti.

The child of survivors of the Sinti persecution by Nazis, Melanie Spitta confronts the truth about unpaid reparations as she exposes shocking evidence and issues a warning against believing perpetrators over victims.

The child of survivors of the Sinti persecution by Nazis, Melanie Spitta confronts the truth about unpaid reparations as she exposes shocking evidence and issues a warning against believing perpetrators over victims.

The child of survivors of the Sinti persecution by Nazis, Melanie Spitta confronts the truth about unpaid reparations as she exposes shocking evidence and issues a warning against believing perpetrators over victims.

This is the first comprehensive documentary portrayal of the White Rose, the movement led by Munich students and their spirit of resistance to the Nazi regime. Companions, girlfriends, brothers and sisters tell the story of how they supported the distribution of tracts, how they survived Gestapo interrogation and courtroom trials in the Nazis’ Volksgerichtshof.

This is the first comprehensive documentary portrayal of the White Rose, the movement led by Munich students and their spirit of resistance to the Nazi regime. Companions, girlfriends, brothers and sisters tell the story of how they supported the distribution of tracts, how they survived Gestapo interrogation and courtroom trials in the Nazis’ Volksgerichtshof.

This is the first comprehensive documentary portrayal of the White Rose, the movement led by Munich students and their spirit of resistance to the Nazi regime. Companions, girlfriends, brothers and sisters tell the story of how they supported the distribution of tracts, how they survived Gestapo interrogation and courtroom trials in the Nazis’ Volksgerichtshof.

In the documentary, Melanie Spitta accompanies survivors and their children to Auschwitz. The film powerfully illustrates how the horrors of the concentration camps have shaped the survivors and their descendants across decades and generations—and why the victims’ trust in the Gadjé remains broken to this day.

In the documentary, Melanie Spitta accompanies survivors and their children to Auschwitz. The film powerfully illustrates how the horrors of the concentration camps have shaped the survivors and their descendants across decades and generations—and why the victims’ trust in the Gadjé remains broken to this day.

In the documentary, Melanie Spitta accompanies survivors and their children to Auschwitz. The film powerfully illustrates how the horrors of the concentration camps have shaped the survivors and their descendants across decades and generations—and why the victims’ trust in the Gadjé remains broken to this day.

The nine-year-old Sinti girl Brigitta shows us her world. She lives with her family in a caravan site on the outskirts of a small Bavarian town. Everybody still speaks Romani and continues to live by the customs handed down. That means that the children take part in adult life and that the very highly respected parents describe how it used to be. In this community, all age groups live together naturally. For these Sinti, `gypsy' is an insult. At school they are taught there are two cultures, two languages and two realities: that of the Sinti and that of the Germans. While German is spoken at school, the only pupils are Sinti children. Brigitta animatedly describes the material deprivations, which are mollified by the life as `one big family'. Brigitta knows all too well where she belongs.

The nine-year-old Sinti girl Brigitta shows us her world. She lives with her family in a caravan site on the outskirts of a small Bavarian town. Everybody still speaks Romani and continues to live by the customs handed down. That means that the children take part in adult life and that the very highly respected parents describe how it used to be. In this community, all age groups live together naturally. For these Sinti, `gypsy' is an insult. At school they are taught there are two cultures, two languages and two realities: that of the Sinti and that of the Germans. While German is spoken at school, the only pupils are Sinti children. Brigitta animatedly describes the material deprivations, which are mollified by the life as `one big family'. Brigitta knows all too well where she belongs.

Documentary film.

Documentary film.

Documentary film.

Documentary film.

A short film about the Hamburg witnesses of the Weiße Rose resistance group.