Gisela Tuchtenhagen

A multi-layered, moving portrait of the filmmaker and winner of multiple Grimme Awards Gisela Tuchtenhagen, one of the first German camerawomen of the 1970s, who has left a sustained mark on the documentary film genre ever since.

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A documentary about the events at the German Film and Television Academy Berlin (dffb) in November 1968, which led to the termination of the training contracts of 18 students. While Director Heinz Rathsack dictates to his secretary Helene Schwarz the letter lifting the ban from the premises against 18 students, the students plan a general assembly inside the dffb despite the ban.

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Annual awarding of the Grimme Awards.

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Greta is born lifeless and dies. Four years later, her midwife stands trial for manslaughter. The verdict: guilty. Ban from practicing her profession, prison sentence, damages. After her release from prison, nothing is the same as before.

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The film focuses on a group of people with various disabilities who are helped by the Hamburg-based association “Insel” to lead largely independent lives. We see them at home, at work, and at the “Insel” premises, where they meet every Thursday afternoon to drink coffee and talk.

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The autobiographical documentary is about the existence, birth and farewell of my son Martin Tim, about personal questions and developments after the confrontation with the shocking diagnosis - above all about the sudden demand on me to decide on the duration of life and the conditions of the death of one of my four children.

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Klaus Wildenhahn, a native of Bonn, takes a personal and slightly wistful look behind the scenes of the government's move from Bonn to Berlin and bids farewell to the comparatively modest “federal village.” He is not interested in the political celebrities, who, unlike in the television reports produced at the same time, serve only as background noise, but in the everyday lives of the small employees, parliamentary servants, chauffeurs, and waiters.

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Women from Turkey and Mecklenburg are working together side-by-side at a fish-processing factory in Lübeck. As they work, they share stories about their lives, including their sorrows, griefs, hopes, and dreams, while expressing their longing for home and feelings of being lost in a foreign place.

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Documentary about the dancer and choreographer Trudi Schoop and her work with people with mental illness through her dance therapy.

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Two women, a mother and her daughter, one of whom immigrated to Germany from Turkey and the other grew up in Germany, describe life between two cultures. The mother came as a guest worker, while her daughter had a painful arranged marriage.

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Short version of Wildenhahn's own 1971 three-part film "Der Hamburger Aufstand Oktober 1923".

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Documentary film about the therapy facility ‘Violetta Clean’, founded in Berlin in 1983, the first inpatient therapy facility in Germany for drug-addicted girls and women.

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Christian's participation in this trip was only made possible through close cooperation between his probation officer, the public prosecutor, and the educators at the Johannes Petersen Home. It was conceived and implemented as a last attempt to influence his socially disadvantaged circumstances. Christian is only allowed to be picked up from the Hamburg remand prison immediately before departure. After two months, Christian is back in prison, this time in Portugal. For stealing radios and wristwatches. "Scandal! Bizarre therapy for difficult youths. Seven months of dream travel at the taxpayer's expense!" reads the newspaper. Bauer Publishing sends two reporters to southern Portugal. A clash ensues. The decision not to punish "criminal" children is the target of attacks by right-wing politicians and their press. The Youth Welfare Office considers discontinuing the project. But this is no time for self-pity – the group continues its work.

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Experiential education is centuries old and remains controversial to this day. When two social educators from the Johannes Petersen Home in Hamburg and a teacher traveled to southern Portugal in March 1984 with "criminally conspicuous" children and adolescents, it was a unique educational experiment for the Federal Republic of Germany at the time. The boys were to live together in tents for three months, learning and improving their social behavior.

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The second film begins in early April with Tarkan's return. He wanted to go back to Hamburg with the stolen 800 marks. The next night, Christian is gone. The group travels on to Lisbon to start investigating Christian's whereabouts. At the same time, school starts again. Christian has once again been caught by the police stealing a car. Three days later, he is back with the group. An educational attempt at clarification begins: Why did he run away? Why did he steal? Why the cars?

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This NDR programme provides insight into the work of a Turkish women's group at the second Hamburg Women's Week, a political education programme organised by the Hamburg University of Economics and Politics under the motto "Women learning together". The programme, the first to be produced by an all-female television team, impressively documents the suspicion and Islamophobic clichés faced by women of Turkish origin in the West German women's movement, attempting to break down prejudices and fight discrimination.

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A portrait of the writer and former miner Günter Westerhoff

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Iris is an Elvis fan and part of a group of unemployed women who, in the scope of the first West German retraining program for women, are being trained in Essen in the "male professions" of electrical and metal work. Monika Held and Gisela Tuchtenhagen accompany the group for five weeks. The women report sexism, low self-esteem and the multiple burdens they must bear. To make any progress, they need support and one another – the regular weekly meeting where they share their experiences is moved to the pub.

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This documentary brings together literary quotations, landscape photos, conversations with former farm workers, and memories of the concentration camps in Emsland.

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A four-part documentary about an economical crisis of the car industry in Germany, in the summer of 1975.

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Behind the scenes look at the preparations for the last two editions of Dietmar Schönherr's Talkshow.

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The two-part documentary introduced people in the villages and less populated areas of the Federal Republic. The prevailing structures, worries, hardships and hopes were shown - a portrait of the 1970s.

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The film develops 5 questions about documentary film against the background of the media-political situation of the early 1970s in West Germany. The following topics are developed: (1) the personal approach of filmmaker Klaus Wildenhahn to his profession; (2) the technical and technical approach of cameraman Rudolf Körösi; (3) the development of documentary film based on John Grierson's British School of Documentary Film; (4) the working conditions and political framework for the production of documentary films at WDR and NDR; (5) the constitutive characteristics of socially relevant documentary film.

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Seven young women from Berlin discuss their experiences with the pill in a studio setting and react to the ideas that young men of the same age have about this contraceptive. The film is based on the work of the women's group "Brot und Rosen" and their book "Frauenhandbuch Nr.1 Abtreibung und Verhütung".

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A cinematic portrait of Maria, a 13-year-old girl who has been living in Hamburg, Germany, with her family from Spain for several years. The filmmaker observes Maria in her everyday life and her relationship with the people around her - her parents, her neighbor (the filmmaker's mother) and Nina, a German girl about the same age.

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Saleswomen in a supermarket discover that they are paid less than their male colleagues who do the same work. They decide to take action. The band Ton Steine Scherben sings along that “Everything changes if you change it / But you can't win as long as you're alone!” With a lay cast, the film fulfils the demand for solidarity that it preaches – “this film was made by saleswomen and housewives. They came up with the story and acted themselves. The film students helped them”

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"New tasks are emerging for filmmakers on behalf of the labour movement" – this early work by Gisela Tuchtenhagen, Wochenschau 4, was produced as a collective effort within the highly politicised DFFB (German Film and Television Academy, Berlin). It not only documents the "Hot Autumn"– the strike movement in Italy in 1969/1970 – but is itself a contribution to the "campaign for counter-information" to reporting on middle-class radio and television.

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