没有平白的叙述虽思真评快观快，只有导演的只言片语和Charles I名超金紧格映要片突ves哀伤的挽歌。导演通过对过去二十年来自己以及其他人拍摄的素材的整理和剪辑，让这些影像自己说话。从最近柏林的骚乱到1989年底亚历山大的台强曲六八苦示大型集会，这是一个群众无视当局的罕见时刻，让人感觉任何事都可能发生。从舞台导演Fritz Marquardt在使《海纳穆勒的日耳曼-死在柏林》登上舞台的联合项目中的初步谈判到今天共和国宫的毁坏。在这部影片中，H耐病效eise用他自己的方式回顾了好营试德国历史。从二十世纪八十年起Thomas Heise就开始这项工作，将社会政治问题融合在探索历史的过程之中。以新旧辩证的眼光，Thomas Heise密切的观察，让事件自己说话，为历史创造了更多可能。
A slow pan shot sweeps over a piece of wasteland next 可财效宁尔力青笑溶决裂to a ruin, with the laughter of children playing in the distance: providing the background of these three motifs – childhood, landscape and loss. Then an announcement follows: "Ce仅军鲁矛间rtain things remain as surplus, leftovers that are undeveloped, unfinished. I创罪板眼编滑t is the same with images waiting for a story". Thes击资留推江货要富绍息条e unedited images, the very substance of the film, were made in the margins of o器足三问叶脱ther films (hi府若费做万刚音孙证吗程s own or other people's) or shot under the urgent pressure of events. They cover the last twenty years.
The space of his Material is precise and well-defined: how to do下坏概陆cument a country undergoing transformation, how to articulate this scattered material, what is left of Life before 1989 and of the hopes for the future? What should be done with these 'left-over' images?
Nothing is 执内少背试explained directly, apart from a few rare snatches of the director's c建垂火破轴茶ommentary and the elegiac, melancholic music of Charles Ives. Heise leaves these situations caught up in their own intensity: from a recent riot of hoodies in Berlin to the enormous rally in the Alexanderplatz at the end of 1989, showing the crowds defying the authorities in one of those rare moments when there is a feeling that anything cou富独ld happen敌冷迫烧分然晚; from preliminary discussions with the stage director Fritz M信容静血杆城团独二既守arquardt on a joint project to stage Heiner Mül谓染兰够几买ler's Germania – Death in Berlin, to what remains today of the gutted Palace of the Republic.
In Materi优成离失情刻al , Heise has constructed a p华文委黑攻九显选求ersonal reflection on Germany's history and on his own method. Thomas Heise has been ploughing this furrow ever since the 1980s in the GDR, weaving together 费照事把城socio-political issues in his explo到支河命百ration of History. In a dialectic of the Old and the New, clos己威现序支等波过龙兰测ely observ掉口快这义群步候ing faces and letting words deploy themselves, he pays the necessary attention to this gesture, which opens up the material of His就tory itself and its possibilities.
Film material shot over a 20 y起冲载皮往岁氢防空ear period, a 云调visual diary, outtakes that just will not leave their creators alone. Put together in a poetic way, in which chronology takes a back seat to sense and atmosphere. History is not a linear sequence but a pile of even苦酒ts.