芭芭拉

芭芭拉·沃富注定是孤独的。

因为这时正处于1980年东、西德分裂时期。更因为她心怀梦想而频遭监视。她被迫从柏林最高医学院，下放到位于波罗的海边的一座小城。远在西德的爱人正设法安排她通过偷渡到西德。这个秘密只有她自己了然，当然，也难瞒过东德的秘密警察们。警察不但处处监视她，且不定时上门搜查她的住所。更离谱的是，还要让她面对墙壁，脱光衣服，叉开双腿，一丝不落的查体，生怕漏过一星半点的蛛丝马迹，实在难为了这些秘密警察。

只是再紧密的跟踪也有疏漏之处。倍受人格污辱的芭芭拉，还是能从西德来的爱人见上面，并商议如何偷渡的计划。她把钱藏在路口转角处那硕大十字架下的一块大石头里。年轻漂亮的芭芭拉，每天就踩着单车往返医院和住所，从不随便外出，更不交往朋友。这不免引来诸多异样的目光。

唯一接近她的人就是医院新来的同事安德烈·瑞斯。他也是因一次医疗事故，从柏林大医院被“下放”到此处。起初，芭芭拉不免处处设防他，让他难以接近。似乎安德烈能体察到她内心的郁闷。他第一天上班时，警察克劳斯就告诉过他：“她是一个行为乖张的人……”警察的提醒，反而激发了安德烈的更大兴趣，其中有好奇更有一见倾心的爱慕。

有一天警察送来一位名叫丝特拉的漂亮女孩，芭芭拉格外同情她的遭遇，只有芭芭拉才能走进她痛苦的内心。芭芭拉为她读马克·吐温的小说。久违的阳光渐渐洒照进来。但糟糕的是丝特拉在被称为社会主义实验营的“托尔高”里，遭到过强奸，且有了身孕。芭芭拉不想她再被送往“托尔高”的集中营。安德烈却无奈的说：“最多她只能在医院多待两、三天。”事实是，丝特拉被警察迅即带往“托尔高”。丝特拉带着身孕在“托尔高”从事着高强度劳动。当人们注意空中的跳伞时，她乘机逃脱了，但她的大腿被铁丝网划了个大口子。可怜的丝特拉，她能逃到哪呢。

芭芭拉的秘密偷渡计划，终于定在了这个周五的晚上。想着能跟深爱她的爱人见面，且从此过上自由又平静的生活，她既兴奋莫明又惶恐不安。而那天正是她值班，需要跟安德烈换班。安德烈也爽快答应了。恰在此时，一个因跳楼自杀未遂的小伙需要手术，芭芭拉因责任所在，小伙的病情已不容耽搁，便想要及时告诉安德烈。恰好安德烈不在医院，已出外门诊。偏就诊的这户人家正是警察克劳斯家，当她找到时，克劳斯瞪大眼神的看看她说安德烈在楼上。芭芭拉匆忙上楼，看到安德烈正帮一位女人注射吗啡。原来这位女人正是克劳斯罹患癌症的妻子，注射吗啡只是减缓她的痛苦而已。在这样的专制国家，即或奉令行事的秘密警察，也有着不为外人言的痛苦。

忙了一通后，安德烈带芭芭拉来到自己的住所，为她做饭，跟她谈心。他哪知道她即将就要远走高飞呢。痛苦又纠结的芭芭拉，处处感受到了安德烈的浓浓爱意，还是跟他拥抱在一起，瞬间又拒绝了他。

芭芭拉疲惫的回到住所，正收拾东西准备离开时，没想到门声再次被敲响，她以为是警察，带着几近昏厥的压力开门后，竟发现是慌张的丝特拉。芭芭拉为她擦净伤口消毒后，即背起她下楼。漆黑一团的夜，让人揪着的心无法放下。芭芭拉踩着单车前往海边。

寒风凛冽，丝特拉无力的靠在她背上。芭芭拉的紧张可谓达到了极点。最怕的就是突然杀出的警察车辆。幸而到了海边。接送她的男人顶着大浪划着皮筏到岸边，芭芭拉给了那人的费用，就背着丝特拉上筏子。那人划着筏子就载着丝特拉走了，而芭芭拉则永远留在了东德的岸上。

此时，安德烈来到芭芭拉的住处，竟然发现门也没关，空无一人，茶几上留有他送给她的《赤脚医生》那本书，警察克劳斯赶来冷冷的说：“她不会再回来了。”安德烈问：“是你们关了她吗？”克劳斯没有回答。

当痛苦的安德烈回到医院，正愁肠百结时，芭芭拉悄悄来到他身边，一言不发的着起了白大褂，继续她在小城的“赤脚医生”工作。安德烈猛然地看到了她冷冽外表下，其实蕴含着一颗温情的女人心。

这就是荣获第62届柏林电影节“银熊奖”和“最佳导演奖”的电影《芭芭拉》（2012年出品），由德国导演克里斯蒂安·佩措尔德执导。芭芭拉由尼娜·霍斯饰演，安德烈由隆纳德·泽荷菲德出演。芭芭拉的沉静、雅致和孤独一如影片的格调，克制在三十年前的东德现场。而东、西德，如紧固的万花筒，最终让不同碎片，相安无事的融合一起，走向了多彩的世界。自由的伞花得以在在晴朗的天空下，如万花朵朵般展开。

2012、11、28

选自海天出版社出版的影评集《看不见的电影》

女医生Babara因为企图从民主德国逃到联邦德国未遂，而被从柏林调遣到一所乡村医院工作，一开始她根本不和周围的人来往，直到医生Andre主动和她接近。医院里新送来一名女孩Stella，得的是脑膜炎，在Babara的细心呵护下逐渐康复。女孩却又因为怀孕了而被送去东德的劳教所。而另一方面，Babara在男友的帮助下积极准备下一次逃亡计划。虽然她还要不时地遭到东德警察的搜查，但是她隐藏得无懈可击。医院里又送来一名自杀未遂的男病人，Babara认为他需要动手术。Andre决定在周六晚上对这名病人进行手术，需要Babara的协助，而周六晚上正是Babara要进行逃亡计划的时间。正在她准备离开家的时候，Stella从劳教所逃出来找到了她.....

《耶拉》《芭芭拉》均以女主角在动荡不定的车厢内的镜头展开，似在暗示她们有一颗驿动的心。 影片节奏舒缓，镜头非常克制，像柏林墙倒塌前的东德一样沉闷、压抑，凄清的风景、枯燥的工作，如影随形的秘密警察和线人，该死的生活！影片准确地传递出了时代的密码，出狱后从东柏林下放到乡村的女医生芭芭拉，一副拒人于千里之外的架势，屡屡挫伤同事莱泽尔的好意，既是一种自我保护，也是另一番“好意”的表达：一直都在计划出逃的她不想有任何牵挂，也不想连累任何人。 老大哥一直在看着你，哪怕你来到了乡下。本来是公事公办的例行检查如此令人痛苦，“老大哥”的手指不仅要探察你房间的每一个角落，甚至还要戴上手套深入你的体内。很难说这种对监视对象的莫大羞辱给检查人员带来了何等快感，也许他们只是不愿、也没有能力思考自己的行为究竟意味着什么。 不难想象，在这种恐怖、高压的环境中，来自集中营的少女一句“我要离开这个该死的国家”对芭芭拉心灵的震撼，两颗孤独、悲愤、向往自由的心紧紧拥抱在了一起。芭芭拉为少女朗读《哈克贝利•费恩历险记》，尽量延长她的住院时间，后者更是视其为保护神。莱泽尔推荐给芭芭拉的小说《乡村医生》充满寓意：女孩即将离世，最后的愿望是一尝爱情的甜蜜，又老又丑的乡村医生满足了未经人事的女孩，成为甜美爱情的替代物；而芭芭拉放弃唯一的出逃机会，何尝不是将一切美好的情感寄托在了少女身上？ 同样以东德时期为背景，《芭芭拉》从名气上来说不如《窃听风暴》，但艺术品质却提升了好几个档次。2006年《窃听风暴》在欧洲获奖无数，并斩获第79届奥斯卡最佳外语片奖，好评如潮。人们对其情有独衷完全可以理解，但我一点也不喜欢这个电影，它颠覆了一个最基本的常识：好的制度令坏人无法为恶，坏的制度让好人变成禽兽。斯塔西（东德国安部）档案联邦管理局信息部主管Förster评论《窃听风暴》：“魏斯乐这种情况我在真实世界里从没听说过。事实上，斯塔西的制度也决定了不可能出现一个魏斯乐，没有一个人能独自做出这么多的重要决定，每个人都被其他人牵制和监视着。”这正是《窃听风暴》最大的败笔：特工良心发现的过程过于简略，欠缺说服力。 对于想了解铁幕下人们的生活、心态的观众而言，《芭芭拉》显然是比《窃听风暴》更好的选择。《窃听风暴》摄制组跑到很多东德的机关大楼取景，惟独遭到监狱博物馆馆长的拒绝，理由是该片不符合史实，整个东德历史，像魏斯乐那样良心发现的秘密警察一个都没有。良心发现、雪中送炭只是传说，世界一片黑暗，善良的人也会变得麻木，成为暴力机器的一个齿轮，释放兽性以获得某种安全感：只要正常运转，齿轮是不会被淘汰的。 《窃听风暴》虚假的温情令人恶心，这种在特定的历史时期，刻意将复杂的人性简单化和美化的态度，对观众真切地认识那段可怕的历史会产生误导。在自由创作的环境中，《窃听风暴》显然太过矫情和幼稚。 倒不是说非要把东德特工都描绘成魔鬼才更符合历史的真实，但任何人的任何重大转变，必定有着重大的原因，不是窃听一首诗歌或几场他人的谈话就能搞定的。艺术家必须提供足够的线索，让人物观念的变化形成内在的合理的逻辑，这是尊重观众的最起码的创作态度。相形之下，《芭芭拉》对特工的处理就较为令人信服。 影片一开场，老特工就讽刺芭芭拉“不会早一秒钟上班”；做身体检查时，对芭芭拉的哀求无动于衷；只有在妻子弥留之际，他才真情流露，对医生和前来看望的亲友充满感激，证明自己血管里流淌的不是蓝色的血液。但是，他不可能因此就洗心革面，愿意为了他人的幸福将自己置于危险的境地。 莱泽尔和芭芭拉的感情发展也自然、可信，前者的善良一点一滴地融化了芭芭拉那颗拒绝融化的心。线人密布、人情易老，将千金难买的出逃机会让给少女，不只是责任、同情和怜悯，也含有对莱泽尔的眷念，芭芭拉的行为逻辑得到了合理的解释。 无论多么严酷的境遇，也无法彻底摧毁人性的善良，而现实越冷酷无情，向往自由的心就越加强烈。英国《泰晤士报》报道说，至少有37名东德边防军人在越境时遭到射杀。一座监狱，如果连其看守都要不惜一切代价逃离，它的末日还会远吗？(新民周刊)

在树林里，西德男友问芭芭拉，你还需要什么，我帮你弄到。芭芭拉笑着摇摇头，吻了他。

在宾馆，西德男友说：过去了之后，你就不需要再工作了，我挣得足够多了。

安德烈一直尊重芭芭拉的意见，为了和她通行，也找了一辆自行车。

安德烈要芭芭拉做手术的麻醉师，芭芭拉犹豫了，因为当晚她要逃出东德。安德烈问她，你想做么？她思考后给了肯定的答案。

安德烈为他做饭。问芭芭拉喜欢做饭么？芭芭拉摇了摇头。

如果芭芭拉去了西德，她就只是家庭主妇，是别人的附庸。

留在东德，她可以继续做医生，并且有一个尊重她的爱人。

无论东德西德，一个女人，一个人，希望得到的是尊重和爱。

《芭芭拉》挑战了一个屡见不鲜的叙事：innocent people crushed by the system.这里你看不到东德有坏人，天天监视女主的“坏人”其实有个重病妻子。而女主对西德的眷恋，与对自由和爱的想象混合在一起，在见到那个为了逃离而出卖身体交易的女孩时又动摇了。

上述叙事是西德东德为背景的片里最常见的一种。它极为流行。以至于我写这篇影评的起源是是德国朋友（一个社会学博士）抱怨“i didn't like that much that her constant motivation was just "GDR bad, i want out".. like, what was that based on?”《芭芭拉》用沉默和暧昧不清制造出延异，来挑战这个叙事。——被下放的芭芭拉拥有动机，而未曾有过选择机会的同事们没有动机，在重重动机下我们的选择是出于自主，还是出于逃离？当电影在这个问题上踌躇不前时，其实已经跳开了那个以个体故事来象征社会危机和提出解决方案的想象方式，而进入对生命的想象——在窸窸窣窣穿过森林的一趟趟路途中，芭芭拉的逃离沦为泡影，但好像这才是生活的样子：总归活着，这么活着或那么活着，主动选择或被推着选择。

但这个挑战依然是暧昧的。德国人又抱怨：stella's character was also kinda kitschy; if she was as innocent/pure/peaceful as portrayed in the movie i doubt she'd have ended in that correction facility.

——诚然。最后女主的选择是被一个不可抗外力推动。而不可抗外力则是东德的罪恶。这个暧昧的回归，我目前还不得其解。

匆忙写的，没有edit,，有语法问题或拼写错误请见谅。 The Legend of Rita (German title: die Stille nach dem Schuss) is a German film, released in 2000, directed by Volker Schlöndorff. The film tells the story of Rita Vogt, a member of the extreme left-wing terrorist group, Red Army Faktion (RAF). She is responsible for bank robbery, breaking into a prison to rescue her partner and killing a policeman when she is in exile in France. She then finds her place in East German, where she is provided with a new identity by the Stasi. Rita decides to stay in East Germany although her partners decide to leave because she believes East Germany is the country where her political ideal is fulfilled. Barbara was released in 2012, directed by Christian Petzold. In the 62nd Berlin International Film Festival in 2012, where Christian Petzold was awarded the Silver Bear for the Best Director. The protagonist, Barbara Wolff, is a doctor who used to work at The Charité – Universitätsmedizin Berlin, the oldest and most prominent hospital in East Berlin. She is transferred, in fact, demoted, to a clinic in a small village in Northern East Germany and makes the Stasi watch list, because she expressed her wish to go to the West. In the village, she meets Andre, a doctor at the clinic she works at. He is supposed to watch Barbara and report her activities to the Stasi agent in the village. Also, she meets Stella, a girl who was detained at the Torgau Juvenile Workhouse for an unknown reason, Barbara’s former patient, for whom Barbara sacrifices her opportunity to run away to the West. The Legend of Rita and Barbara are both post-reunification German films about the former German Democratic Republic (GDR) and they both attempt to challenge the conventional west-centric discourse of the memory of the GDR in media with different approaches. East Germany is also stereotypically presented as simply Stasiland, with no freedom of speech, failed political system, economically and socially backward. Even though Schlöndorff tried to avoid the conventional West-triumph-over-east narrative, the Legend of Rita still taps into many East German stereotypes. On the other hand, Barbara reconstructs a more realistic GDR in colour and presents a more complex set of characters in the former socialist state. The Stasi is commonly seen as the dominant ruling power over the East German people. The East German people are simply seen as the victims of the state apparatus. The most well-known film about former East Germany is the Lives of Others, directed by Florian Henckel von Donnersmarck. The film won the 2006 Academy Award for Best Foreign Language Film. It also had won numerous awards elsewhere, including Deutscher Filmpreis for the best film, best director, best screenplay, best actor, and best supporting actor. The Lives of the Others sets paradigm of the public discourse of the former GDR. It is so successful because the film reconstructs former East Germany as a dark oppressive country in which people have no freedom of speech. The streets seem dark and grey. Donnersmarck uses an extra-diegetic soundtrack frequently to create the oppressive and unpleasant environment of GDR and guide the thought of the audience further into seeing the GDR as the oppressive force over the population. The Lives of the Others harshly criticize the former East German socialist regime and clearly demonstrate the simplistic binary of the state as the perpetrator and the free-loving people as the victim. Additionally, the narrative of the Lives of the Others exudes optimism towards the reunification in 1989. (Cooke 2011) The end of the socialist regime marks the liberation of people, including the artists. Dreyman’s new play featuring an African-German actress marks progress in anti-racism. The Lives of the Others emphasizes the Stasi as the powerful tool of the state machine overseeing and controlling the people all the time. Their networks are ubiquitous in East German society and the people do not have any chance to resist. Every step taken in East Germany is observed by the Stasi. If anyone shows any signs of faithlessness to the state, he or she will be punished immediately. The Stasi is the ruthless and effective enforcer of the will of the state (Moeller and Lellis 2012). The Legend of Rita and Barbara tackles the popular negative discourse of GDR history not by denying the brutality of the Stasi but by highlighting not only the oppression of the state apparatus but also the revolutionary political ideal and a place where love is possible in spite of the state oppression (Pinfold 2014). Although, West Germany is presented as the Promised Land in the Lives of the Others, Rita and Barbara, eventually willingly surrender their opportunity to live in West Germany. West German society is not at the centre of the stage in either the Legend of Rita or Barbara, however, both films allude to some facts of West German society. In the Legend of Rita, Rita’s first of three stories take place in West Germany and in Barbara, the interaction between East and West can be seen through Barbara’s West German boyfriend and his business partner. Barbara’s boyfriend, Jörg, is a businessman from West Germany, who frequently travels across the border with his business partner. He and his partner come into East Germany with their Mercedes, nice suits and ties, which distinguish them from the local East Germans, who drive Trabis and have to wait for years after they order it. He comes to the East to visit Barbara twice in the film. During the first visit, when Barbara and her boyfriend are meeting in the wood, the business partner of her boyfriend, Gerhard has a conversation with a local East German. The local man shows curiosity about the Mercedes and that indicates the lack of variety and poor quality of East German cars. Later when Barbara’s boyfriend returns to the car, Gerhard imitates the East German in a sarcastic voice: “is that a Mercedes, how much do they cost, how long did you have to wait, we waited eight years for ours and that wasn’t bad” and ask Barbara’s boyfriend: “was is it at least worth it?” This scene shows that the West German feel they are superior to the East because of the economic development. In spite of its poor performance and quality, the Trabant, produced by VEB Sachsenring Automobilwerke Zwickau in Zwickau, Saxony, is a distinctive symbol of the extinct former GDR. Various models of Trabants in different colours are collected in a Trabi museum in Berlin 25 metres away from Checkpoint Charlie. In Dresden, people today can experience relive the life of a former East German by driving a Trabant themselves. The Trabant is indeed the people’s car in East Germany. The Trabant incorporate more cultural and political nuance in the Legend of Rita in the context of Ostalgie. Rita spends the last of her West Deutschmark on a Trabant as part of her integration process into East German society. The second rendezvous between Barbara and her boyfriend took place in a hotel. Barbara sneaks into the hotel room from the window, where they stay and discuss their future. In the hotel room, they hear exaggerated sex noise from Gerhard’s room. Her boy explains that Gerhard has met a girl, Steffi, and he said he loves her. Barbara points out the nature of their relationship immediately: “Because she can’t follow him.” She meets Steffi when her boyfriend and Gerhard go out to attend a meeting in the restaurant. She says to Barbara: Steffi: “If he marries me, do you think they’ll let me leave?” Barbara: “I don’t think so.” Steffi: “Do you know your stuff about this?” Conversation implies that Steffi is unaware of the nature of her relationship with Gerhard. Gerhard used presents in exchange for sex with Steffi. To Barbara, the romantic connection does not exist between Steffi and Gerhard. The relationship between them is simply a trade between sexual intercourse and presents. Yet, Gerhard is not completely honest in this relationship. He claims that he loves Steffi and that makes Steffi dream about one day Gerhard will marry her and take her out of the GDR. It is unlikely he genuinely falls for an East German girl because he talks about the East with contempt when Jörg comes back from his meeting with Barbara in the wood recently. Steffi is amazed by the variety of jewelry in the catalogue, which is unavailable in East Germany at that time. Thus, Gerhard, a businessman from the West, has the chance to exploit the gullibility of the young East German girl and the lack of variety of goods in East Germany. During Barbara’s conversation with Steffi, she looks reluctant while Steffi shows her the catalogue with ostensible excitement on her face. Capitalist consumerism is not what she wants in her life. Moreover, just before Jörg leaves for the meeting, he proposes “what Petzold regards the key sentence of the whole film”: Jörg: “Once you’ve come over, you’ll be able to sleep late.” Barbara: “Why is that?” Jörg: “I earn enough, you won’t need to work.” The conversation between Jörg and Barbara is important in the narrative of the film is because it makes Barbara reconsider her wish to go to the West. She realizes that going to the West may mark the end of the medical career to which she devotes herself and is her identity. Barbara had an accomplished and fulfilling career in East Germany. Although she is reassigned to a small clinic, she once worked at the famous Charité hospital in Berlin. Consumerism, fear for change in her professional life and the growing affection toward Andre contribute to her decision to stay in East Germany at the end of the film. Petzold uses Chic’s At Last, I’m Free as the ending theme of the film. The connotation of the song is open to different interpretations; it could possibly mean that Stella finally escapes, or a more likely explanation would be Barbara has the freedom to choose where she lives of her own will. Schlöndorff, in The Legend of Rita, also addresses the freedom of choice and at the same time justifies people’s resentment to the government in the East and why Rita is more motivated to be a good East German citizen than her peer at the factory. In the scene Rita and Tatjana having a conversation after work by the window, Tatjana asks Rita: Tatjana: “Don’t you regret coming here?” Rita: “I’ve always been left politically. I didn’t have a lot of options. I used to be a waitress.” Tatjana: “Funny, you come here voluntarily and I want nothing more than to get away.” Rita: “This is how it is, here and there.” Tatjana: “I’d like to see that with my own eyes. Maybe I’d even come back, then I’d be here on my own will.” This conversation indicates that people in East Germany do not have the liberty to have their own political opinions, but it also implies that the western system is not necessarily superior to the socialist model in East Germany. Freedom is not simply moving to the West or the West annexing the East, but the ability to make choices. Schlöndorff dealt with the political issue between East and West with a great amount of political sensitivity. He challenges the image of the former GDR as a failed political experiment but as a socialist utopia. A Strong anti-capitalist message is delivered in the Legend of Rita. Schlöndorff intends to upset the accustomed view of the GDR as a failed political system and question the commonly accepted western system that triumphs over the East. Rita herself is left-wing political. Unlike Andreas Baader in the film the Baader-Meinhof Complex, who appears a violent egocentric extremist, Rita is well aware of the political motivation behind her radical actions in West Germany. At the beginning of the film, Rita’s monologue states that her intention is to abolish injustice as well as the government. Politics were war throughout the world. She has Karl Marx’s bust and books of iconic revolutionary figures, such as Ho Chi Minh and Che Guevara. Moreover, she is more anti-capitalist than pro-violence. This is demonstrated in the scene she has a heated debate with her partners when they are in exile in France. Although she shot the policemen who pursue her in France, she did that involuntarily because she was trapped in the underground parking lot. The political message intended in the Legend of Rita is delivered directly through Rita's speech in front of a group of workers after the wall came down. She believes that East Germany is a place everyone is equal; People will not be fired or kicked out of their apartments, the socialism in East Germany was a great attempt and a revolution, it is supposed to be a world that is not ruled by money and people should have faith in their political system. Her speech incorporates the social and economic issues in the former East Germany post-reunification. Many people, who worked within the socialist system, lost their jobs as the system collapsed. Rita is portrayed as the personification of the political ideal she holds. During nearly decades between the early 1970s and 1989, Rita did not age at all, thus it can be interpreted she is more an epitome of socialist ideals rather than a real human being. Rita is also a more devout socialist than any local East German in the film. She is rewarded “für vorbildliche sozialistische Arbeit” (for exemplary socialist work), and she is disappointed that the East Germans do not understand the political concept of the GDR (Moeller and Lellis 2012). Pessimism toward reunification is expressed in the Legend of Rita, as reunification marks the end of utopia. If Rita represents her political ideals, the death of Rita at the end of the film symbolizes the end of the political ideal. From the German title of the film, die Stille nach dem Schuss (the silence after the shot), this message is implied, yet it is lost in the English translation. After the reunification, the two German states became one, and Rita’s real identity is exposed. She is then wanted on both sides of the disappearing border. With the retort of the German national anthem, Tatjana is brutally pushed against the wall by a group of policemen when she is trying to find Susanne (Rita’s first alias). The authority and brutal law enforcement still exist although the Stasi is disbanded as former East Germany being absorbed by the West. The film ends with Rita being killed when she was trying to ride across the border as the retort of the German anthem plays again. As opposed to the Legend of Rita, Barbara is almost apolitical. The former GDR is set as the background of the love story of Barbara. The absence of political manifestation makes room for the multidimensionality of characters in Barbara and a different experience of the history of GDR. Debbie Pinfold states that Petzold breaks down the perpetrator v. victim binary in which the GDR is remembered by the public. This binary mindset is an account for the success of the Lives of the Others, in which the GDR is cleanly divided into the state as the perpetrator, represented by the Stasi officers and government officials, and the artists and people as the victim. The subtle dynamic relations of power grant the complexity of characters in Barbara. In the first scene of the film, Barbara comes to work by bus. Although she arrives early, she sits in front of the clinic to smoke a cigarette and would not enter the workplace. Andre and the Stasi officer, Schütz, watch her from the window on the second floor. The position of the characters indicates the power relations at this moment. Barbara is a new doctor in the village who has been recently demoted from the most prominent hospital in Berlin and she is in a new place where she knows no one. Barbara is placed in a relatively powerless position in this scene when she is watched unawares by Andre, a doctor who has already integrated into the village and is supposedly collaborating with Stasi, and a Stasi office, who represent state authority and power over people (Pinfold 2014). Barbara’s vulnerability is exhibited in the scenes, which show she is visited by the Stasi officer. She is visited twice in her apartment throughout the film. The process of the visits includes not only questioning and going through her belongings but also cavity search. She is thoroughly searched when she comes home late and after Stella escapes from the Torgau Juvenile Workhouse. According to the time when the Stasi officers come to Barbara’s place, then the time she comes home and her relationship with Stella is watched and reported to the Stasi by the superintendent at her apartment and Andre or other colleagues. Barbara is forced to stand against the wall in her own home while Schütz sits amidst Barbara’s clothes on the floor and other Stasi agents carry on their search and investigation. Barbara’s vulnerability peaks during the second visit of the Stasi agents. When she hears the agent who conducts cavity search knocking on the door, Schütz asks her to open the door without any emotion, she begs Schütz in a shivering voice, yet Schütz remains emotionless and the cavity search carries on subsequently. However, the relation of power reverses in the film when Barbara goes to Schütz’s to look for Andre, while he attends Schütz’s sick wife in bed. Barbara comes in uninvited when Schütz sits vulnerably in the room. His vulnerability is exposed to Barbara, the woman whom he once inflicted terror upon when he is being watched by Barbara emotionlessly from a distance. Hauptmann Gerd Wiesler in the Lives of the Others works with mechanical efficiency. His function as an agent of oppression is enforced through the presentation of the absence of a personal life. Unlike Wiesler, the character of Schütz is enriched with a family life besides his profession as a Stasi agent. Schütz carries both occupations as a man, who is capable of love and feelings, and a functional Stasi agent when he carries on missions at Barbara’s apartment. Furthermore, cultural reference is used in Barbara to recreate a relatively more authentic experience of GDR and enrich the characters in Barbara with complexity. I Andre in Barbara is an admirer of art. He attempts to connect with Barbara by discussing Rembrandt’s Anatomy Lesson of Dr. Nicholaes Tulp. He also enjoys literature and music. When Barbara comes to his apartment, he has photographs and paintings of different styles hanging on his wall, and a piano standing in the living room. Instead, the Lives of the Others presents GDR as a cultural wasteland where the only artworks allowed are those that praise the regime (Fisher 2013). The Legend of Rita has a conclusively pessimistic ending as the protagonist, who is the personification of socialist ideals, is shot dead at the end of the film with two lines of text appearing on the screen: “Alles ist so gewesen. Nichts war genau so.” (This is how everything was, more or less). Unlike the Legend of Rita, Barbara has an open ending and it raises more questions than it answered. The film ends with Barbara returning to the hospital breathing heavily after sending Stella off to Denmark. There is no dialogue between Barbara and Andre in the hospital. Many questions are left to the audience, such as how will the relationship between Andre and Barbara develop after she missed Mario’s operation and is suspected of assisting a fugitive from the Torgau Juvenile Workhouse escape the country. In conclusion, both the Legend of Rita and Barbara challenge the public narratives of the history of the former GDR set up and reinforced by the Lives of the Others with different approaches. The Legend of Rita arouses sympathy for the protagonist and the end of the political ideals that Rita upholds. The film challenges the common image of GDR as a political failure and presents the ideals as brave and revolutionary. Barbara, on the other hand, focuses on the complexity of East German society other than politics. The film reconstructs the GDR in colour and warmth with elaborated complexity of characters and enriching cultural references. It does not only challenge the familiar narrative of the GDR history as simply Stasiland but also avoids the conventional discourse of GDR as an extinct political system and recreates the individuality of the memories of professional and personal lives in former East Germany with the foregrounding of Barbara’s love story. And through Barbara’s narrative, the people who once lived in GDR are more than a collective object to the oppression of Stasi in history, but a group of individuals who have their very own stories.