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ABBA in Studio 2

ABBA performs (all to playback): Arrival (only about 1.5 minutes of it) Waterloo (over footage of preparations for, and ABBA's arrival at the airport) SOS Nina Pretty Ballerina (over footage of them on the steps of the plane and arriving at their hotel) Dancing Queen My Love my Life When I Kissed The Teacher Knowing Me Knowing You Fernando Tiger Money Money Money Fernando Agnetha had travelled ahead with her father the day before and then met Benny, Frida and Björn off the plane. She had filmed "SOS" the day before and it was interspersed with a rather embarrassed looking Benny, Frida & Björn "singing" on the plane! There is a short interview on the plane with mainly Benny, Björn and Stig.

ABBA in Studio 2

6.0 1976
Berlin - Hauptstadt der DDR I

"I'm walking through my city...", sings a cheerful pop singer. She fervently praises the new metropolis of East Berlin. As an emphatically lively, often anthemically condensed revue, the film tells of the "growth and development of our new capital". Accompanied by cheerful music, the camera indulges in high-altitude views, shows squares whose fountains, benches and green spaces are designed to make you forget that you are in a big city, as well as visitors from all over the world in top hotels. An emphatically cheerful, yet meaningful insight into the brave new GDR world.

Berlin - Hauptstadt der DDR I

NR 1970
Still Attica Remains

A film shot in New York City in one day, on September 13, 1975, the 4th anniversary of the massacre at Attica prison. The narration presents a case that the brutal assault was cold-blooded and senseless, causing an avoidable tragedy. Handheld footage of the city provides a backdrop as Macdonald recounts the events of the rebellion, focusing in particular on Gov. Nelson Rockefeller’s refusal to negotiate and his role in escalating the conflict that resulted in 43 deaths. Both a screed against political power and a memorial to those who lost their lives, Still Attica Remains details some of the horrors of prison— unfortunately relevant today as it was in 1975.

Still Attica Remains

NR 1975
Little Godard

The production of a film requires recording equipment and financial resources, if nothing else. Hellmuth Costard places these basic prerequisites at the centre of his film: using a Super 8 camera system he developed, he films himself as he tries to raise funding for his film project. This creates an unconventional experimental setup, which reveals how the economics, politics, technology, and aesthetics of filmmaking relate to each other – with the ‘great’ Godard being called up as a kind of chief witness.

Little Godard

10.0 1978
From Hattis to Hitites

Approximately 3300 years ago, on a cuneiform tablet, the Hittite King Muvatalli begged the Storm God. However, a hundred years later, severe storms blew over Anatolia, and the "Land of Hatti" and what we call the "Land of the Hittite" today became a pile of stones and earth, from one end to the other. But this civilization still lives on the traces they left in Anatolia and will continue to live for centuries. The documentary "From Hattis to Hittites", produced by Suha Arın in 1974 with the support of the Turing and Automobile Association, as the first film in the "Traces of Anatolian Civilizations" series, is restored 45 years later from original negatives and magnetic sound tapes.

From Hattis to Hitites

NR 1974
ABBA-dabba-doo

This first documentary about the pop group ABBA was made around the time of the release of their fourth album 'Arrival'. It contains unique archive footage filmed at the secret location where they made the record, concert footage, specially made promotional videos, photos from the group members' private collection and interviews in Swedish with each of them: Agnetha Fältskog, Björn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad. Stig was also interviewed briefly and was shown playing and singing part of Tivedshambo on acoustic guitar.

ABBA-dabba-doo

8.5 1976
In the 11th Festival of Song

No one knows why for certain, but from 1968 to 1973 communist Albania enjoyed a brief liberalisation in the arts. Banned books and Beatles records changed hands. Albania’s Nobel-nominated novelist Ismail Kadare wrote two of his most famed masterpieces, Kështjella (The Castle) (1970) and Kronikë në gur (Chronicle in Stone) (1971) during this period. The rock'n'roll and jazz arrangements featured in this concert documentary were the pretext that brought about the end to the artistic thaw. Several performers seen in the festival were sent to prison or internal exile. The portly, smiling music conductor, Gasper Çurçia, was later accused of forging bus tickets and executed.

In the 11th Festival of Song

NR 1971
Pride of Place

In this first project of Kim Longinotto while she was a student at Englands National School of Television and Film she filmed the daily life in a girls boarding school situated in an old isolated castle in Buckinghamshire. Until she was 17, Longinotto lived in this boarding school, finaly she run away from there. In this dark and expressive black and white documentary, Longinotto exposes the repressive school from the students perspective. It seems to be a kind of miniature state with bizzare rules, idigestibel food and absurd punishments. The documentary begins with an graduation ceremony. The director blows her own trumpet, afterwards the film describes the daily routine of schoollife. The film ends up with the students leaving for holidays. As a result of this documentary, the boarding school was closed down one year after the release of the film.

Pride of Place

6.8 1976
Wenn Goethe das gewusst hätte

The year is 1978. Hartmut Geerken, director of the Goethe-Institut in Kabul, is on a mission. “We cannot change society, but we can change the landscape,” he says—literally. A trickster, a Don Quixote, Geerken approaches cultural work with playful defiance, forging deep mutual respect with a land foreign to most Europeans. The film follows him pushing a grand piano on a handcart for an impromptu concert with Afghan and German musicians, visiting a village artist, and meeting a famed tabla player—illiterate, yet musically eloquent beyond words. What begins as a whimsical journey becomes a poignant love letter to a country on the brink of irrevocable change—lighthearted, yet laced with melancholy.

Wenn Goethe das gewusst hätte

NR 1978