Based on extensive interviews, shot on 16mm in a series of static long takes, Filmemigration aus Nazideutschland, is one of the most fascinating examples of "Film history on film" ever produced. Straschek devoted years to researching the topic and accumulating both film and non-film materials. Apart from some radio features and articles, however, this 290-minute TV programme remains the only published trace of Straschek's lifelong work on the emigration of film personnel. He had intended to publish a three-volume book, encompassing all available data about 3,000 emigrants originating from the centre and peripheries of film production, but the book never materialised.

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A narrative presented non-chronologically of Jonas Mekas's time in German forced labour camps and displaced person camps from 1944 to 1949, in which he quotes his diaries, as well as the German wartime writer Wolfgang Borchert.

The film observes two Italians, the director's parents. The main theme is a balance of over twenty years of life abroad: what were the reasons, goals, desires, etc. of emigration, and which ones have come about? Emigration is a chronicle of two days of their (our) life, with work, leisure time, thoughts.

During the Second World War in the United States, cinema was extensively used as a propaganda vehicle. All the great filmmakers were involved: Capra, Ford, Huston, and Hollywood's new master of suspense, Alfred Hitchcock. After making several films advocating American entry into the war alongside the British, in direct violation of the Neutrality Act, Hitchcock took advantage of Zanuck's departure from 20th Century Fox to launch a major new propaganda project: Lifeboat. He asked John Steinbeck to write the basic story. This great American literary figure, author of The Grapes of Wrath, whose adaptation was one of Fox's biggest successes, was himself very committed to the war effort. When Lifeboat was released, success quickly turned to controversy. What if Hitchcock's film had completely missed the mark? What if, instead of providing anti-Nazi propaganda, the film actually defended the thesis that the German people were superior to the Allies and the union of democracies?

In 2009 a bizarre story spreads around the globe, reported as fact in the world’s newspapers: Josef Mengele – the infamous escaped Nazi concentration camp doctor, the Angel of Death, may have succeeded in his lifelong goal of creating a blonde, blue-eyed master race. An historian says he has evidence that Mengele’s bizarre experiments on twins may not have ended at Auschwitz, that his efforts to engineer an Aryan master race continued and succeeded while on the run in South America.

From PBS - The secret Nazi death camp at Sobibor was created solely for the mass extermination of Jews. But on the 14th of October 1943, the inmates fought back, in the biggest and most successful prison outbreak of the Second World War. Told through the firsthand accounts of four survivors--Toivi Blatt, Phillip Bialowitz, Selma Engel-Wijnberg, and former Russian POW Semjon Rozenfeld--and using dramatic reenactments, Escape From a Nazi Death Camp recounts the true horror of life at Sobibor, and the desperation, determination, and courage of its prisoners. Of the 600 inmates present on the day of the escape, 300 escaped into the forest surrounding Sobibor. Of that 300, many were shot, turned in, murdered, or captured by Nazis. Around 50 survived the war and of that 50, only a handful are still alive. Now in their 80s and 90s, this is their last chance to reveal, in their own words, the true story of the day they escaped certain death to freedom.

为什么古典音乐对希特勒和戈培尔如此重要？犹太大提琴家安妮塔·拉斯克 - 瓦尔菲施（Anita Lasker - Wallfisch）曾在奥斯威辛集中营幸存下来，明星指挥家威廉·富特文格勒（Wilhelm Furtwängler）曾与纳粹合作，他们的故事为此提供了线索。这部电影围绕着两位在第三帝国时期代表音乐文化的人物展开——尽管方式截然不同。威廉·富特文格勒是一位明星指……

To this day Nazis who have taken part in crimes against humanity are being persecuted. The prosecution needs to prove the guilt of the 94-year-old Reinhold Hanning who worked as an SS guard at the Auschwitz concentration camp and says that he had not a clue about what was happening within its walls. Then the 3D model of the Auschwitz as it used to be is created, and the jurors are given VR-helmets so that they can step into the Unterscharführer’s shoes and make a moral choice that he had once faced. Then they will make their own decision in real life by finding him guilty or not guilty in being involved in a hundred and fifty thousands of murders.