He was a student activist, an urban guerrilla, a taxi driver; Joseph "Joschka" Fischer emerged from the Extra-parliamentary Opposition (APO) to become Hessen's trainer-clad environment minister and Germany's suited and booted foreign minister. Director Pepe Danquart follows Joschka's colourful life through six decades of postwar Germany from the phoney fifties, to the wild APO days, through the "leaden times" of RAF-terror and on to the advent of the anti-nuclear movement and the birth of the Green Party, then all the way up to fall of the Berlin Wall and Germany's first red-green coalition. Danquart's film is a time machine hurtling through the decades with Joschka at the helm gazing out - often in astonishment - at the epochs that shaped him, as he did them. JOSCHKA AND SIR FISCHER reaches far beyond biographic narrative.

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German North Sea beach fisherman Hein always was happy with his wife Islebill, despite their modest life and poor dwelling. When he spares a rod-caught speaking flounder's life, the grateful enchanted prince promises to grant his wish. Hearing this, Ilsebill urges him to ask for a decent house, which is granted instantly. While Hein generously shares their newfound wealth with neighbor Klaas's penniless family, his wife keeps getting jealous of people in higher stations, urging him against growing reluctance to ask the flounder to be be promoted country squire, king, eventually pope. But as Hein feared, she only transforms into a haughty, unhappy butch abusing even her 'mere husband', and each transformation takes a hefty toll on the marine environment, which ends up inhospitable, causing coast-dwellers to flee.

The play tells the story of the chronic drunkard and landowner Puntila. When he is drunk, he is virtually free of himself; he develops immense strength in these phases and can really be a human being. Then he wants to fraternize with his chauffeur Matti, wants to give him a forest and a sawmill, and even wants to give him his daughter as his wife. Puntila could accomplish many, many more good deeds in his frenzy, but when he returns to a sober state, Puntila reveals himself to be the "black sheep" of his capitalist class and an insignificant person. His classmate reads him the riot act and shows him the limits of this species, which Puntila can never break. GDR television showed the play in a production by the Berliner Ensemble.

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Directed by Louis Feuillade.

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All is no longer right with the world in East Frisia. The weatherproof crab fishermen who take their boats out into the North Sea every night are fighting for survival. In these times of globalization, the North Sea crabs travel thousands of kilometers to Morocco, where they are caught cheaply before being served up again in Germany.