Dear friends, scholars, and fans of Weimar cinema,
What’s new from Germany? Which events are on the horizon? Which restoration projects are underway, and which long-unseen films are finally returning to the screen?
It is perhaps worth noting that the unusually rich array of Weimar cinema programming we saw this past fall and winter is something of a rarity. Let me highlight just two series. First, the retrospective “Filmpionierinnen! Regisseurinnen in Deutschland 1917 bis 1932,” which ran from October to December 2025 at Berlin’s Zeughauskino and brought many lesser-known treasures to light.
Closely connected to this series was the first presentation of a major work of proletarian cinema from the Weimar Republic: the gripping and highly watchable Berlin unemployment drama “Lohnbuchhalter Kremke” (1930), newly restored by the Deutsche Kinemathek. It was directed with great assurance by Marie Harder, who was also an active film critic. Her earlier film “Der Weg einer Proletarierin” (1929) is now available online in the Federal Archives’ Digital Reading Room. Harder is a name worth remembering.
Beyond Germany, in Vienna, the Metro Kinokulturhaus hosted another remarkable silent film retrospective with superb live musical accompaniment in January and February 2026, dedicated to one of Weimar cinema’s most popular genres: the sensation film. Under the title “First Action Heroes: Blockbuster der Stummfilmzeit,” the program featured several new restorations from the Filmmuseum Düsseldorf, including Luciano Albertini’s “Der Mann auf dem Kometen” (1925) and Harry Piel’s “Was ist los im Zirkus Beely?” (1927). It is no exaggeration to say that this series marks a significant step forward in exploring and presenting the popular dimensions of Weimar cinema and their roots in the Wilhelmine era.
The Metro Kinokulturhaus in Vienna continued in February and March 2026 its Ellen Richter retrospective on the occasion of the publication of Ellen Richter. Die große Unbekannte des Weimarer Kinos (Vienna: Synema, 2026), co-authored by Oliver Hanley and myself.
Looking ahead to spring 2026, no comparably ambitious or innovative Weimar cinema series have yet been announced—at least none that I am aware of—so the following overview remains necessarily selective.
In January, the Film Preservation Weekend took place at the DFF – Deutsches Filminstitut & Filmmuseum in Frankfurt, presenting recent restorations under the heading “Filmerbe – digital”. Among them were two late German silent films: Erich Schönfelder’s crime thriller “Trust der Diebe” (1929), starring Eva von Berne as an undercover agent, and Gennaro Righelli’s circus film “Sensation im Wintergarten” (1929).
Also in January, the DFF presented the newly published volume Weimar, weiblich. Filmpionierinnen des Kinos der Moderne (1918–1933), edited by Daria Berten, Annika Haupts, Anna Heizmann, and Kristina Jaspers (Munich: edition text+kritik, 2026). This important collection promises to become a key resource for research on the women who shaped Weimar cinema as writers, directors, and producers.
From March 5 to 24, Berlin-based silent film musician Stephan von Bothmer presented his annual festival, this year devoted to the fantasy genre. Alongside “Nosferatu” (1922) and “Metropolis” (1927), the program includes rarely screened restorations from the Munich Film Museum, such as “Der Student von Prag” (1926), starring Conrad Veidt, and “Alraune” (1928), with Brigitte Helm—both directed by Henrik Galeen. This selection rightly places Galeen, known as the screenwriter of “Der Golem” and “Nosferatu,” in the spotlight as a director in his own right.
At the same time, Dresden hosted the 11th Dresden Silent Film Festival (March 8–15), where live musical accompaniment will once again lend special vitality to the screenings. Alongside “Buddenbrooks” (1923) and “Pandora’s Box” (1929), the program includes Fritz Lang’s visionary “Die Frau im Mond” (1929). A particular highlight is a full day devoted to animation, with a special focus on Lotte Reiniger. Her silhouette film “Die Abenteuer des Prinzen Achmed” (1926), which premiered one hundred years ago, remains a masterpiece.
The centenary of “Prinzen Achmed” will likely lead to further screenings in the coming months, ideally with live music. One such occasion will be the International Silent Film Days organized by the Munich Film Museum in July. On July 17, the program will include a double feature of Marie Harder’s films, “Der Weg einer Proletarierin” and “Lohnbuchhalter Kremke,” as well as another screening of Harry Piel’s “Was ist los im Zirkus Beely?”
Munich will also host the premiere of a newly restored version of the Heimkehrerfilm “Die Hintertreppe” (1921) on July 10—a deeply moving chamber play written by Carl Mayer, with Henny Porten, Fritz Kortner, and Wilhelm Dieterle caught in a tragic love triangle.
For those unable—or unwilling—to travel to Berlin, Dresden, or Munich, television offers an alternative. In May, arte will broadcast the premiere of the Friedrich Wilhelm Murnau Foundation’s new restoration of G.W. Pabst’s psychoanalytic drama “Geheimnisse einer Seele” (1926). First shown at the Berlinale in February, it features a newly composed score by Yongbom Lee, which may strike some viewers as either intriguingly experimental or unsuccessful.
Amid the focus on silent cinema, Weimar sound films tend to receive less attention. Yet they deserve renewed recognition. One example is Kurt Bernhardt’s historical war film “Die letzte Kompagnie” (1930), long dismissed as proto-fascist heroism. Now restored by the Murnau Foundation, this visually and acoustically impressive film premiered again in February 2026.
Looking ahead, the Filmförderanstalt (FFA) on behalf of the German Federal Film Board, approved funding for the restoration of several films of Weimar cinema as part of its program called Förderprogramm Filmerbe. Some of these restorations will soon be available for screening. Among these are “Das ewige Rätsel” (1919, Josef Coenen), “Die Minderjährige” (1921, Alfred Tostary), “Brüder. Zwischen Himmel und Erde” (1922/23, Rochus Gliese) and ”§ 173 St.G.B. Blutschande” (1929, James Bauer), restored by DFF; and “Der Farmer aus Texas” (1925, Joe May) and “Die Brüder Schellenberg (1926, Karl Grune), restored by the Murnau-Stiftung.
In fall 2025, more restoration projects for Weimar cinema were granted from FFA, and while we must be patient, these projects promise exciting rediscoveries—films both unfamiliar and full of promise.
For example, the Murnau-Stiftung is working on “Vendetta” (1919) with Pola Negri, Rochus Gliese’s “Der verlorene Schatten” (1920), Ludwig Berger’s “Ein Glas Wasser” (1922), Wilhelm Thiele’s ‘Liebeswalzer’ (1930), and Alfred Zeisler’s polit thriller “D-Zug 13 hat Verspätung” (1931); the Deutsche Kinemathek on “Jenseits der Straße” (1929) and “Cyankali” (1930); the DFF on Robert Land’s “Venus im Frack” (1927), Anatole Litvak’s “Das Lied einer Nacht” (1932) and Carl Froelich’s “Gitta entdeckt ihr Herz” (1932); the Filmmuseum Düsseldorf on Rudolf Meinert’s “Dudu, ein Menschenschicksal” (1923) and “Rasputin” (1932) by Adolf Trotz.
To close on a personal note: I am particularly looking forward to the FFA-funded restoration of Hans Steinhoff’s London underworld thriller “Nachtgestalten” (1929), as well as the spirited riot girl comedy “Die Republik der Backfische” (1928), starring Käthe von Nagy.
In difficult and uncertain times, it is reassuring to see the continued preservation and rediscovery of Weimar cinema. There is every reason for optimism—the best may still lie ahead.
Yours sincerely,
Philipp Stiasny
