Through the experiences of two women in Paris and London, Ghost Dance offers an analysis of the complexity of our conceptions of ghosts, memory and the past. The film focuses on the French philosopher Jacques Derrida, who observes, 'I think cinema, when it's not boring, is the art of letting ghosts come back.' He also says that 'memory is the past that has never had the form of the present.'

On the run from her criminal Italian husband, a young French woman meets a German lover in West Berlin who offers her shelter but who also gets entangled in her threatened life ever deeper.

A sartorially resplendent woman of few words arrives in Berlin with plans to live out the rest of her days as a drunkard.

It's a perfectly ordinary day in Rita's life: early in the morning her lover from last night left the apartment, and Rita doesn't dare to go back to work after she stole money in the telephone cabin the day before.

The 24-year-old Ekkehard is shocked by the suicide of Hans Georg, a young man under his care, and moves into his room because he initially believes that the causes of the suicide can be found in this environment. In his search for the reasons, his perception of his own reality changes.

A German TV movie

A French director in Berlin creates a film letter to his lover, while reminiscing over their relationship.

A portrait of a family in Berlin in the late 1970s, this film focuses on the mother.

A portrait of a woman’s life between 1915 and 1975. In Jutta Brückner’s documentary, her mother looks back at the 60 years of her life, talking about her father’s early accidental death, the constraints faced by a lower middle-class family of five, her training as a seamstress, marriage to a bookkeeper committed to social democratic ideals, the privations of war, and not least of all, her later realisation that fear may have caused her to miss opportunities … An ingenious collage of picture and sound accompanies the mother’s narrative, a tapestry of proverbs, pop songs, marching music, and the noise of war. Hundreds of photographs – most selected from August Sander’s (1876–1964) project “People of the 20th Century”, alongside newer photos by Abisag Tüllmann, among others – lend the individual vita of the director’s mother a kind of ontological validity. Images of labourers and office workers, excursions and marches, imbue what we hear with references that transcend the personal.