Someone goes to work*

“Du, Wolf, nächsten Sonntag — ?”

– title card

Berliners rest on Sunday, we still do. People lounge in the many parks, and on the shores of the city's many lakes. And then, it's Monday.

 

Released in 1929, according to Atlas Film, who restored this important Weimar classic long before Criterion put their grubby hands on it.

 

* the Bales 2025 Film Challenge for July is, for unknown reasons, mostly not date-related and follows some sort of vacation narrative.

Someone is hungover*

“Ein Psychogramm zweier ungewöhnlicher, aber auch extrem unterschiedlicher Frauen. Die eine, reich, exzentrisch, ihre Gefühle maskenhaft verbergend, trinkt sich bewusst zu Tode. Sie ist der Fall, der in der Statistik nicht erscheint, weil entweder zu Hause unter Valium gehalten oder unter Verschluss in einer Privatklinik. Die andere ist arm und trinkt sich unbewusst zu Tode. Sie erscheint in der normalen Statistik als Typ der haltlosen Trinkerin”

– U.O., via

An eccentric woman simply named Sie (Tabea Blumenschein), takes a one-way trip to West Berlin. Accompanied by her alter ego, a homeless alcoholic, and commented on by a Greek choir consisting of Soziale Frage (Social Question), Exakte Statistik (Exact Statistics), and Gesunder Menschenverstand (Common Sense), she drinks herself to death.

 

* the Bales 2025 Film Challenge for July is, for unknown reasons, mostly not date-related and follows some sort of vacation narrative.

(People at) an airport*

 

It's foggy at Flughafen Berlin-Tempelhof, the Allies' airbridge to the West, and all the planes into and out of West Berlin are grounded. In any other metropolis this could mean taking a train, enjoy the city's nightlife or maybe just a bed for the night. In post-Wall bureaucracy-happy West Berlin, this means endless waits with strangers. And so, with nowhere to go, a Polish jazz band mingles with British spouses, a lonely South African farmer, a model and her beau.

 

* the Bales 2025 Film Challenge for July is, for unknown reasons, mostly not date-related and follows some sort of vacation narrative.

An LGBTQ actor, director, or character over 55 for Honor Our LGBT Elders Day (USA)

“Ich bin meine eigene Frau” (“I am my own woman/wife”)

– Charlotte von Mahlsdorf, in response to her mother's request to settle and get married

The extraordinary life of Charlotte von Mahlsdorf, Berliner, gender bender, Nazi killer (her own father, with a wooden rolling pin, mind you), prisoner, custodian, museum founder, barmaid, Stasi informer (arguably), den mother to the GDR's LGBT+ youngsters, but most of all, her own woman.

Someone quits something or is unemployed: the abdication of Pope Benedict XVI in 2013.

“[Kuhle Wampe] gives witness to the true face of a struggling, suffering nation. Made by four thousand unemployed people, it never aims to be a work of art but simply aims to portray […] workers whose youthful energy is going to waste.”

– Marcel Carné, via

Kuhle Wampe, Berlin slang that means something like “empty stomach”, is the name of a real-world, improvised encampment for the unemployed at the Müggelsee. Here we find a family who lost everything after the death of one of them.

 

This late-Weimar, brechtian film was quickly banned by the German government.

Someone named Greg for National Greg Day (USA)

“Sie können sich einen anderen Beruf aussuchen. Sie sind ein toter Mann.”

16 year old Benno (Christof Wackernagel) lives in a reformatory until the Lohmanns, a rich middle-aged #WestBerlin business couple decides to adopt him. A new world opens up, one of adulthood and responsibility. For the teenager, this neatly regulated new bourgeois life feels all wrong.

Bruno Stroszek (Bruno S.), his friends Eva (Eva Mattes) and Scheitz (Clemens Scheitz, responsible for the fairy-tale music you hear in this film) decide to leave dreary #Berlin behind and move to #Wisconsin where the latter's nephew lives. A new life, with dreams of music and animal magnetism, awaits them there.

“Was ist loos? Der Hund is loose.”

– Clayton

As so oft with #Herzog, the story behind Stroszek is as engrossing as the resulting film. Documentary maker Errol Morris and Herzog were fascinated by Wisconsin's own Ed Gein and wondered if Gein had dug up his own mother, as was rumoured at the time. As they would, they decided to open the poor woman's grave. Morris never showed up, and neither did Herzog but only because his car broke down en route to Plainfield, Wisconsin. Trying to get the vehicle fixed, Herzog entered the workshop of a Clayton Szalpinski.

 

A character in his own right, and a non-actor to boot, Clayton ended up in Stroszek as Scheitz's nephew; a MacGuffin odder than a dancing chicken.

Daniel (Bernd Feuerhelm) is a young man in #WestBerlin exploring his homosexuality. Initially he opts for a spießbürgerlich, petit-bourgeois, almost heterosexual affair. He then probes further, swings by Berlin's public toilets and pools. Only when he encounters a leftwing gay commune he finds that pride, not conformity, is his way of living his life.

“Werdet stolz auf eure Homosexualität! Raus aus den Toiletten, rein in die Strassen! Freiheit für die Schwulen!”

Von Praunheim's Nicht der Homosexuelle ist pervers is a plea for rebellion and visibility. For revolt and love. A wakeup call for gays and straights alike. Such a stir this film pamphlet made it became the blueprint for West-Germany's gay liberation movement.