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A documentary with fictious elements. Ms. Elisabeth (Lieschen) Müller from Austria comes to Bonn, Germany to find herself a man. During the search she investigates the connections between neckties, political power and prostitution, and tries to look for the influence the german feminist movement had on the men in Germany's capital.
Lucy, who is already human-like, claims that the first humans were mothers: The mother built a nest to secure the child when it became too heavy to carry. This is how she invented the house. She penetrated the dense branches with her voice to maintain contact with the child. That's how she invented language. Today, Lucy shakes her head and asks: "How did you let yourself be dragged down like that?".
Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.
Documentary showing the daily routine of Sander’s seven year old son, Silvo.
Based on years of research into the mass rapes committed by the Red Army at the end of the Second World War. In the first part of the documentary Helke Sander interviews multiple German women who were raped in Berlin by Soviet soldiers in May 1945. Most women never spoke of their experience to anyone, after 46 years of silence they talk for the first time publicly about their violent experiences that have left such a mark.
Based on years of research into the mass rapes committed by the Red Army at the end of the Second World War. In the second part of the documentary Helke Sander interviews former Soviet soldiers, and children born from rape, splicing their statements with material from archives. While avoiding an emotional presentation of the subject matter to rule out revanchist interpretations.
A concise blast of feminist film making, Sander's first film is a tense yet playful four minute short that dissects a typical urban scene at a bus stop on a busy street in Berlin.
Within four episodes ("Er am Ende", "Muss ich aufpassen", "Eva" and "Are You Lonesome Tonight?" ) are being told adventures of love sick Felix. On Sylt he meets two nymphomaniac women, in Hamburg he meets Eva, a girl who is even more love sick and later he meets Luci who gives him an indecent proposal. Thus he flees again...
The film documents the work of an anti-authoritarian and self-organized school store in Witzlebenstraße in Berlin-Charlottenburg, which emerged as a critique of the development of children's stores. The film shows how the teachers discuss the conversion of open spaces into playgrounds with the children and how the children jointly prepare the publication of their newspaper "Radau". The concept of the children's stores was developed by the Action Council for the Liberation of Women, which emerged from the Socialist German Student Union (SDS), at the Free University of Berlin (FU) and was organized as self-help from January 1968. Helke Sander was one of the co-founders of the Action Council.
Edda Chiemnyjewski, a freelance press photographer and single mother living in 1970s West Berlin, is confronted with the fact that "a cook has no time for affairs of state". She also fails to find a market for the project she has been working on with her women′s photography group that seeks to document the city. While from today′s perspective the city, which becomes one of the film′s protagonists, looks like post-war Berlin, little has actually changed as regards the precarious existence of free-lancers. With a heavy dose of self-irony Helke Sander, who also plays the leading role, tells of a divided life in a divided city.