Helma Sanders-Brahms

Helma Sanders-Brahms – Mein Herz – Niemandem! AKA My Heart Is Mine Alone (1997)

The life of Jewish Expressionist poet and performance artist, Else Lasker-Schüler (1869-1945), told chronologically in vignettes given context by archival footage of turn-of-the-century Germany, World War I, and the ascent of the Third Reich. Her poetry often comprises the soundtrack. We see her in relation to men: her first husband, whom she leaves after her son is born; artists like Chagall and Franz Marc; an older muse and then a second husband; and, Gottfried Benn (1886 – 1956), physician and poet. Benn’s life is also chronicled: homosexual encounters, his attraction to Else and the Berlin scene, and his politics. Her poems addressed to him define this cultural moment.
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Helma Sanders-Brahms – Heinrich (1977)

A biopic by Helma Sanders-Brahm on the life of the poet and dramatist Heinrich von Kleist. The film is based upon his letters, documents and literary works. This film won the Deutscher Filmpreis in 1977 making Sanders-Brahm the first female director to win it. Read More »

Helma Sanders-Brahms – Erdbeben in Chili AKA Earthquake in Chile (1975)

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When the church discovers that Josefa is pregnant, she is sentenced to death by decapitation. Her lover Jeronimo is jailed before he can rescue her. When fate intervenes in the form of a massive earthquake, the two lovers have no idea what is in store for them. Read More »

Helma Sanders-Brahms – Deutschland bleiche Mutter aka Germany, Pale Mother (1980)

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In her film Germany, Pale Mother Sanders-Brahms depicts her childhood in Germany during and after WWII. In order to survive, mother (Lene) and child (Anna) form a self-sufficient bond which excludes the father when he returns from war. The film portrays a child’s resilience in the face of such war trauma as death, and, especially for girls, fear of assault. Anna emulates Lene’s ability to transcend suffering through her will to survive and through narrative, the focus of this paper. Lene’s reciting of the Grimms’ “The Robber Bridegroom” fairy tale, in which the heroine flees and defeats her potential assailant by telling her story, enables them to overcome their suffering as war victims and inspires Anna, the filmmaker, to narrate their story, to become the subject not the object of her life story, and to transcend the past. Postwar scenes depict the difficulty of returning to traditional family roles because of the father’s wartime absence and the resulting abuse from a disillusioned, frustrated husband/father, the postwar “enemy”. There is a role reversal in which Anna becomes the mother’s caretaker which reaches its climax in the final scene Read More »