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Cast overview, first billed only:
Annekathrin Bürger Annekathrin Bürger ... Henriette 'Jette' Wagner
Roswitha Marks Roswitha Marks ... Cornelia 'Conny' Bach
Marion van de Kamp Marion van de Kamp ... Frau Sommer
Gerhard Bienert ... Rentner Heinrich
Gertrud Brendler Gertrud Brendler ... Tante Hete
Manfred Karge Manfred Karge ... Robert
Rolf Römer Rolf Römer ... Peter
Jürgen Heinrich ... Johannes
Berndt Stichler Berndt Stichler ... Geerd
Angela Brunner Angela Brunner ... Christa
Ilona Pathe Ilona Pathe ... Milena
Ellen Butze Ellen Butze ... Uta
Wolfgang Dehler Wolfgang Dehler ... Karl
Michael Gwisdek ... Kutte (as Michael Gwiesdek)
Thea Elster Thea Elster ... Karls Frau


Add Full Plot | Add Synopsis






East Germany



Release Date:

13 February 1976 (East Germany) See more »

Also Known As:

Elveszlek, elhagylak See more »

Company Credits

Production Co:

Deutsche Film (DEFA) See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:




Aspect Ratio:

1.66 : 1
See full technical specs »

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User Reviews

I'd like to know more about this film
17 May 2007 | by jamestobiasSee all my reviews

While my German is still a work in progress, I recently saw this film on German TV, and found it really interesting. It reminded me a bit of Moscow Does Not Believe in Tears, in that it's a 1970s "women's film" that deals with questions of personal identity versus national identity, friendship versus sexual relationships, and women's and men's respective, and changing, roles.

And while much of the film reads (at least to me) as camp today, at the same time, there are some really interesting bits. First, it has a number of montage sequences showing East Berlin in the 1970s, which are amazing to look at today, now that, 16 years after re-unification, these neighborhoods have changed drastically. Second, the protagonist's subjectivity -- her interior conflicts, memory "flashbacks," and emotional responses to changes in her life -- are often communicated by montage sequences where all kinds of different techniques are used. For example, there are fantasy sequences which are represented clearly as "a theatre of the mind," with stage-show like staging and dramatization, while other cut-away sequences use montage-type techniques in a more properly "cinematic" style. I'd guess that these are intended as "Brechtian" gestures, and because Brecht is so often mis-represented in "Western" drama and cinema, I'd like to know more about this possibility.

Finally, the soundtrack, with songs by Veronica Fischer and Nina Hagen, is amazing.

I've checked a DEFA catalog that I get in the mail regularly, but this hasn't been re-released, at least in the U.S. distributors' catalogs, as far as I can see. In any case, it's a great time capsule that presents issues that are still relevant; I'd love to see an English-subtitled version.

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