Sandra Prechtel
Einar Schleef – No Germany Did I Find
27 Sept 2026, 7 pm

FilmPremiereTalk

Using archive footage, director Sandra Prechtel paints a complex portrait of the multi-talented artist Einar Schleef, who grappled with the reality of a unified Germany through his provocative theatre productions.

Cinema premiere featuring Sandra Prechtel, Gerhard Ahrens, Thomas Irmer, Katja Weingartshofer and Martin Wuttke

  • Location:Hanseatenweg, Studio
  • Date:27 Sept 2026
  • Time:7 pm
  • Price:EUR 7.50 (Reduced: EUR 5)
  • Languages: German
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  • Einar Schleef – No Germany Did I Find
    Documentary, Germany 2026, 93 mins.
    Research, screenplay and direction: Sandra Prechtel
    Editing: Olaf Voigtländer, Katja Dringenberg
    Featuring: Einar Schleef, Wilhelm Schleef, Karl von Appen, Jutta Hoffmann, Jürgen Holtz, Gertrud Schleef, Marcel Reich-Ranicki, Martin Wuttke, Peter Iden, Rolf Hochhuth, Gerhard Ahrens, Elfriede Jelinek, Sigrid Löffler, Alfred Biolek

     

    Guests include the director Sandra Prechtel, Schleef’s former dramaturg Gerhard Ahrens and the actor Martin Wuttke
    Presenter: Thomas Irmer (editor, Theater der Zeit)
    Introduction: Katja Weingartshofer (Archive of Performing Arts, Akademie der Künste)

Tickets:
Einar Schleef, still from <em>Einar Schleef – No Germany Did I Find</em> by Sandra Prechtel
Einar Schleef, still from Einar Schleef – No Germany Did I Find by Sandra Prechtel
© Filmgalerie 451

Einar Schleef was a theatre director, set designer, writer, photographer, painter and filmmaker. A total artist. Born in 1944 in Sangerhausen, Saxony-Anhalt, he lived in both East and West Germany, under four different political systems. He found no home in either Germany – and is therefore its most accurate chronicler. He delved into German reality and its abysses using every artistic means at his disposal. He chose a life of extremes straddling the arts.

He initially studied painting at the Academy of Fine and Applied Arts, was expelled, took up photography, and became a master student in stage design under Karl von Appen, who had previously worked with Brecht. His very first production at the Volksbühne caused a sensation; he then moved to the Berliner Ensemble, co-directing with B. K. Tragelehn. His production of Miss Julie was met with acclaim – and led to his dismissal. In the West, he began to write. In 1980, Gertrud, a novel about his mother, was published.

Productions in Frankfurt and, after the fall of the Berlin Wall, once again at the Berliner Ensemble – such as Wessis in Weimar and Puntila – sparked fierce debates. Dismissals were followed by new engagements. On stage, he – who suffers from a severe speech impediment – finds a way to speak through the text. With every production, Schleef pushes the boundaries of German spoken theatre. His use of choruses, borrowed from ancient theatre, remains influential to this day. For him, the war into which he was born is not over, but rather the very foundation of everything; the alienation between East and West has never been resolved for him. “Tragedy is the world as it is,” says Schleef. “Comedy is the respite from it.”

Einar Schleef, still from <em>Einar Schleef – No Germany Did I Find</em> by Sandra Prechtel
Einar Schleef, still from Einar Schleef – No Germany Did I Find by Sandra Prechtel
© Filmgalerie 451

Schleef needs to be rediscovered, says director Sandra Prechtel, who, with her film, dares to take a deliberately subjective approach – to Einar Schleef as a person, an artist and a tragic figure who, through his work, assimilates the ghosts of history in order to hold them up to society in a distorting mirror. Drawing on the wealth of archive material, much of which is held at the Academy of Arts, Prechtel has crafted a fast-paced, complex montage that takes a whirlwind tour through Schleef’s biography, posing questions that are directed at the present day.