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In «The battle of Morgarten» we see how Morgarten – a symbol of freedom – is celebrated and interpreted today. First part of a trilogy on Swiss traditions.

A girl returns from a trip out of the country and is given a strip-search for drugs when she re-enters Switzerland. Lacking a place to stay, she looks up an old friend of hers and stays with him, working to pay for food for both of them. In the casual manner of such arrangements, several more people enter the scene to stay: a rich kid who has been disinherited and a girl who is an escaped convict. The working girl has been hiding some of her wages in her clothes, and the two young men steal the money, buy a car, and hare off looking for excitement.

A film by Lutz Mommartz

The word and image "Meer" are brought together by young people in a provisional way.

Felix has a number of fun adventures to go through. His opponent, The Professor, is after the magic bag ...

In eight parts, Alphons S. tells the story of his life as a child and teenage miner in the Ruhr region, as a vagrant traveling across Germany in the 1920s, as a farm worker on estates in Mecklenburg, as an anarchist and left-wing socialist—but above all as an intelligent and alert witness to everyday history from 1906 to 1939.

People tell what difficulties you might encounter when you want to renovate an apartment in Berlin.

An adventure movie directed by Rolf Olsen.

Andrees’ graduation project approaches the perky 14-year-old Jacki mainly through her social environment: the stressed patchwork family mother, the solitary long-distance truck driver father, the eclectic neighbourhood. The closer the film gets to its protagonists, the freer the movements of the camera become, gliding through a studio as if in a trance or flying over the nocturnal motorway as if over a UFO landing strip.

A short film by Hans-Jakob Siber.

Live recording from the Salzburger Festspiele (Salzburg Festival) 1974

Film by Wolfgang Urchs.

A film by Lutz Mommartz

Ten young women who used to live together at boarding school meet in a café and tell each other spicy stories from their lives and those of schoolmates.

Lonely pensioners are looking for foster families on a TV show.

The two-part film by Hartmut Bitomsky is an "essay film with a plot." It revolves around the transportation of books that are meant to go from Munich to Cologne. It's about reading the right texts, deciphering secret messages, the violence that emanates from books and sometimes doesn't return. At the same time, it's about cinematic storytelling; suspense arises where it doesn't belong and gets resolved when no one expects it. (Subtitle of Part 1: "Wandering Plot," Part 2: "At the Inferno of Silence")

A man's head is seen in silent close-up using single-frame shooting and time exposure.

Anna and Edith are colleagues at an insurance company. Their male chef uses the women's business success to his own advances. Anna's husband would prefer her to be at home. Anna and Edith become a couple, but it doesn't end with a romantic rendez-vous. Together, and with the help of their female colleagues, they want to improve their work conditions.

A boy returns home from school, goes upstairs into his father's room where he steals sugared and dried figs out of his dad's chest of drawers. In spite of some remorse, he does not confess it to his father.

In a breakneck undertaking, the musicians of the "Modern Soul Band" take on the GDR rugby champions "Stahl Henningsdorf" in a seriously comical game.

A documentary about young people just starting their higher education and their professional life.

This film summarises a 10-minute material action by Günter Brus that he performed as a prelude to Hermann Nitsch’s ‘7th Abreaktionsspiel’ on February 28, 1970, in Aktionsraum 1 in Munich. Günter Brus, dressed in women’s underwear, cries out, puts his feet into a bucket full of some liquid, writes on the floor with chalk and scarifies his upper legs.

At the center are takes which do not change - a tree in a field in Vermont, U.S.A. Since the film was shot over a period of fifty days, the single frame shots create a storm of pictures.

The series of portrait films that the Heins made between 1970-73 attest to their deepening interest in the movement generated solely through cinematic processes of reproduction. [...] Portraits (1970) is a collection of three of these films, Manson, Biggs, and Wilhelm Hein, that each underwent distinct processes of development so as to highlight different perceptual and aesthetic effects.

Sculptor Max Kolbe has rented a room with the Käselau family as a "furnished gentleman" to escape his love-struck bride and to work in peace for an exhibition. But he is not safe from anything in this tenement: the women's lives seem to be dominated by gossip, curiosity and envy. But the men are no better! Kolbe's false name and his actions arouse the strongest suspicions in the house: why doesn't he go to work? Is he doing shady business? What are the young ladies looking for with him?

A drama in the continuum of perturbance in the mixed-gender relationship. Based on shoulder and hand symbolism as historical body language, the history of women in the world of men is broken wide open.

A 16-year-old schoolgirl writes in her diary about her dreams and longings, especially about her relationship with a man. She uses this feeling, more unconsciously, as an opportunity to daydream and escape from very concrete problems such as job hunting and role conflicts. The film fully engages with the feelings and thoughts of its main protagonist and reproduces her dreams of an ideal world with correspondingly kitschy images.

A court's decision to take away a mother's child after a divorce and grant the father sole custody leads to a clash of human law and written law.

The daily lives of a group of young people who use drugs are documented on film. The soundtrack features a mix of rock music and interview excerpts. The media distributor at the time wrote: »It clearly illustrates how people addicted to drugs »go to the dogs« physically, mentally, emotionally, and morally; to an aesthete, the film seems abhorrent; to a moralist, repulsive; to a philosopher, depressing.”«

The Deutsche Staatsoper Unter den Linden is presented together with some of its best and most popular singers. A program of famous opera arias and scenes: Among others, Theo Adam sings Philipp's aria from Verdi's "Don Carlos", Peter Schreier the cavatina of Almaviva from Rossini's "Barber of Seville". Ute Trekel-Burkhardt and Isabella Nawe present a scene from Richard Strauss' "Der Rosenkavalier". The chorus and ballet also make their appearances. Between the numbers, the artists make statements about the opera house against the backdrop of the opera and its magnificent interiors.

Volker Koepp's video essay honoring the German poet Johannes Bobrowski (1917–1965).

The GDR government made the eastern part of Berlin the capital of the other German state, building a new city center and new landmarks. ZDF correspondent Dirk Sager sets out to capture the lifestyle and attitude of the people living in East Berlin. The film shows what has been newly created, but also what has remained.

In soccer, No 1 is the position of the goalkeeper, a human body in continuous, unbelievable motion - diving, leaping, bouncing, sprinting, hurtling through space.

An exceptional historical document: Gil Evans in concert at the 1976 Berlin Jazz Festival, one of Europe's most prominent musical events. Alongside other prestigious artists, the legendary arranger offers a varied repertoire, rich in innovation, fusion, and modern jazz. This confidential recording beautifully captures the creative energy of the era.

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.