Since the late nineteenth century, Germany has been making major contributions to the global cinematic landscape. The ‘Golden Age’ of the Weimar Republic saw directors like Ernst Lubitsch and Fritz Lang, and actors like Marlene Dietrich, make their mark on both European cinema and Hollywood, and the work of more recent stars such as Hans Zimmer and Michael Ballhaus has helped to change the face of 21st century cinema. Germany has seen some considerable shifts in its cinematic identity throughout the years, and each of these distinct eras means that there is truly something for everyone in the nation’s filmography. From early 2000s blockbusters to a 1930s cult classic, the following list contains some of my favourites from across the last century, and will hopefully give you a brief taste of what the world of German film has to offer.

“Germany has seen some considerable shifts in its cinematic identity throughout the years”

Goodbye, Lenin! (2003)

A classic for anyone who studied German at school, Wolfgang Becker’s Goodbye, Lenin! follows the story of a family living in East Germany, whose mother, Christiane (Katrin Sass) is a dedicated socialist. In October 1989 she falls into a coma, and when she wakes up in June 1990, her son Alex (Daniel Brühl) tries to conceal the fall of the Berlin Wall and the collapse of Communism from her, to prevent her from experiencing a fatal shock. Despite being scarred by the number of times I was forced to watch it for my German A-level, I have to admit that this is a truly heart-warming film which strikes the perfect balance between comedy and drama. Although an interesting depiction of politics and different ways of life in Germany before and after the reunification, the true essence of this film is family, and it begs the important question: how far would you go for the people you care about?

Lola rennt (1998)

Or in English, Run Lola Run, and, boy, does Lola do a lot of running in this film. This energetic experimental thriller is the very definition of fast-paced: in just 80 suspense-filled minutes, director and producer Tom Tykwer tells the story of Lola (Franka Potente), who must source 100,000 Deutsche Mark in 20 minutes in order to save her boyfriend’s life. The film’s protagonist has all the apparent coolness of a video game character, and the electrifying EDM soundtrack and cartoon illustrations only help to accentuate the feeling that the audience is playing – or being played by – some sort of ‘choose your own adventure’ game. Although the plot seems basic on the surface, Run Lola Run raises thought-provoking questions about desire, free will, determinism, and even the supernatural through an enthralling narrative which is sure to pack a punch.

“This anti-fascist and anti-patriarchal film has survived decades of banning and censorship to become a modern-day queer cult classic”

Mädchen in Uniform (1931)

Banned by Joseph Goebbels during the Nazi rule in Germany, Mädchen in Uniform portrays the story of a young girl who, after the death of her mother, gets sent off to a strict all-girls boarding school where she forms a romantic attachment to one of her teachers. The film, directed by Leontine Sagan, was groundbreaking in its use of an all-female cast, and bold in its portrayal of the relationship between Manuela (Hertha Thiele) and Fräulein von Bernburg (Dorothea Wieck), which is both beautifully touching and, at times, a little ridiculous. It is also remarkable in its depiction of the political landscape in 1930s Germany, with many critics commending the film for its accurate presentation of the period. This anti-fascist and anti-patriarchal film has survived decades of banning and censorship to become a modern-day queer cult classic, and its themes still resonate with contemporary audiences around the world.

Das Leben der Anderen (2006)

A depiction of the GDR which is vastly different from that of Goodbye, Lenin!, Florian Henckel von Donnersmarck’s directorial debut Das Leben der Anderen – or in English, The Lives of Others – tells the tale of Stasi captain Gerd Wiesler (Ulrich Mühe), who is ordered to spy on playwright Georg Dreyman (Sebastian Koch). After following instructions to bug Dreyman’s apartment, Wiesler is disappointed to discover the self-serving intentions of his superiors, and he starts to question where his loyalties should lie. Definitely the most doom and gloom to be found on this list so far, this film is an examination of the constant unease and shame felt by those living under a police state. Donnersmarck has remarkable attention to detail, and he does a great job at making his audience feel just as unsettled as his characters. Although Ulrich Mühe gives a stellar performance in the lead role, I think that the film’s true stand-out is Martina Gedeck’s Christa-Maria (Dreyman’s lover), whose tragic storyline could perhaps easily be dismissed as a mere subplot.

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