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Documentary filmmaker Troller criss-crosses post-reunified “Transgermania” for a year, probing German identity through festivals (Carnival, Oktoberfest), films, small towns and big cities. He attends a Black–Bavarian wedding at an “animal fair,” chats with chimney sweeps, students, artists and elites (from Grass to Müller), and asks uneasy questions about unity, memory and the future - all from his outsider’s lens.
From August 1989 to March 1990, Heiner Müller and the Deutsches Theater ensemble develop “Hamlet/Maschine” amid East Germany’s peaceful uprising. Actors help organize the November 4, 1989 Alexanderplatz demonstration. After the wall falls, artists split between a “third way” and reunification.
Citing Nietzsche, Müller defines intellectuals as the "ploughshares of evil," whose task it is "to create chaos, to destroy conceptions of order." Not "trace elements of reason," but rather chaos can perhaps bring about enlightenment.
An approaching loss threatens the of a middle-class family, whose dark secrets gradually come to light and begin to gnaw away at the family members - literally.
Robert Gordon wants Donald, his son, to marry Sir Ralph Fisher's sister, but Donald loves Alice, a working-class girl, and weds her in secret.
