Heiner Stadler

Documentary by German journalist and film maker Heiner Stadler.

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October 7, 2001, 6:27 p.m. local time: The first cruise missiles strike Kabul and other cities in Afghanistan. The documentary observes how this war affects the private lives of individuals in other parts of the world: In Paris, a couple's domestic bliss is disrupted, in New York a concert is canceled, and a South African miner works an extra shift. The film attempts to turn one of the basic tenets of chaos theory—that the flap of a butterfly's wings in China can cause a hurricane elsewhere—on its head.

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A war photographer in different theatres of conflict, Belfast, Beirut, Mogadishu begins to suspect that his uncanny knack for being in the right place at the right time to get the perfect shot is making him an agent of the action that is more causal of the conflict than reactive to it. This takes the argument about whether a war correspondent is a recorder or instigator of drama to an interesting new level.

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This German format is not a series properly speaking, as it has no permanent cast or script continuity, but presents each time a 45 minutes documentary, usually in part presented as a docudrama (not faction, as close to scientific knowledge as possible, but visually attractive), elaborating a specific historical theme, widely varied, often exotic in the sense of a far time (as far back as prehistoric times) and/or place (around the globe), although some episodes fit together well, chronologically or thematically, but always fit to be watched separately. Usually authentic locations are used, as well as scenes from and/or interviews about the scientific research it is based upon.

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Documentary film.

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Berlin Film Fest 1984. The best place for every cinema fan. Everyone wants to be in on the festival, but that may be really difficult, if one has no accreditation. Also Journalist Matthies gets to know the rules of being in or out when he wants to see a screening and is not welcome. Thus he watches an old German silent flick which he is barely interested in. The next day the newspapers are full of reports about a newly discovered German masterpiece from the silent era. It seems that Matthies had luck. He just saw *the* film everybody is talking about now. Also everybody is speculating about its director, who remains unknown. When Matthies talks to Ackrewa, an old befriended projectionist, about the film, the latter seems to recall the name of the director. Matthies decides to research the case. An odyssey into film-history begins and if it is successful Matthies will come up with a top story.

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This German format is not a series properly speaking, as it has no permanent cast or script continuity, but presents each time a 45 minutes documentary, usually in part presented as a docudrama (not faction, as close to scientific knowledge as possible, but visually attractive), elaborating a specific historical theme, widely varied, often exotic in the sense of a far time (as far back as prehistoric times) and/or place (around the globe), although some episodes fit together well, chronologically or thematically, but always fit to be watched separately. Usually authentic locations are used, as well as scenes from and/or interviews about the scientific research it is based upon.

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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.

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Documentary about German director Harald Reinl

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Berlin Film Fest 1984. The best place for every cinema fan. Everyone wants to be in on the festival, but that may be really difficult, if one has no accreditation. Also Journalist Matthies gets to know the rules of being in or out when he wants to see a screening and is not welcome. Thus he watches an old German silent flick which he is barely interested in. The next day the newspapers are full of reports about a newly discovered German masterpiece from the silent era. It seems that Matthies had luck. He just saw *the* film everybody is talking about now. Also everybody is speculating about its director, who remains unknown. When Matthies talks to Ackrewa, an old befriended projectionist, about the film, the latter seems to recall the name of the director. Matthies decides to research the case. An odyssey into film-history begins and if it is successful Matthies will come up with a top story.

Open details →