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30 Essential German Films You Need To Watch

07 June 2014 | Features, Film Lists, test | by Alex Nasaudean

best german films

Germany has been a vital contributor to the history of cinema right from the beginning, hitting the ground running when the first cinema for a paying audience in the world was opened in 1895 in Berlin. It was, however, during the interwar period that the social atmosphere relaxed and inspired film-makers created the Golden Age of German film-making.

‘The Cabinet of Dr Caligari’ and ‘Nosferatu’ almost single-handedly established horror as an independent genre. Fritz Lang’s Metropolis still stands tall as the godfather of all science-fiction movies. ‘The Blue Angel’ made Marlene Dietrich an international star, and she still ranks high on any essential female stars of all time list. Everything came to an abrupt halt with World War II, most directors fled to Hollywood with few returning after the war. Germany never recovered its top position in film-making, but the dramatic shifts in its history have produced some of the most remarkable movies in history.

The first signs of true recovery came with what is now known as New German Cinema, one of the many “new waves” which occur constantly in national cinemas around the world. One of the eclectic movement’s starting points was Alexander Kluge’s 1966 ‘Yesterday Girl’.

The movement’s ‘big four’ – R.W.Fassbinder, W. Herzog, Wim Wenders and Volker Schlöndorff are the architects of the relaunch of German cinema, together with important female directors such as Margarethe von Trotta or Helma Sanders Brahms. Their movies are avant-garde, overtly political, literary, poetic and raw. There is daring confrontation with current social realities and with Germany’s complicated past. Many are true wake-up calls. They have contributed vitally to Germany’s evolution and intellectual renaissance.

Most movie-goers, however, are familiar with German movies of the last decade or so. Slightly over-shadowed by the French or the Italians, current German cinema needs to be scrutinized more closely in order to be better appreciated. The influence of Hollywood has been immense. The best example would be any movie involving very successful actor/director Til Schweiger whose feel-good dramas and light-hearted comedies are great popcorn movies. In the area of social dramas and art-house films is where contemporary German cinema’s true strengths lie.

The so-called ‘Berlin school’ who is best represented by Christian Petzold offers mysterious tales reminding one of Lynch or Wenders is carving a respectable niche in the festival circuit. In the social drama category, Matthias Glasner’s aptly titled ‘The Free Will’ about a rapist trying to overcome his urges is highly recommended.

All in all, it is safe to recommend for adventurous viewers not afraid of subtitles to move beyond the old and new classics in this list and into the realm of German auteur cinema, East German science-fiction, German horror movies both old and new, Eurosleaze and many other underrated and undiscovered gems.


30. Trace of Stones (Frank Beyer, 1966)

the trace of stones

The sole entry from the former East Germany might be criticized for being much too soft on communism, of whitewashing its horrors. One must know that director Frank Beyer was prevented from making movies for ten years after its release, reflecting the bureaucratic nightmare which stifled any perceived side-step. The fight to produce any meaningful artistic artifact was tremendously exhausting and fraught with expected and unexpected perils. The film was shown again in November 1989, after the fall of the Berlin Wall.

The plot is centered on the triangle of Hannes Balla (Manfred Krug) a drunken, rebellious construction foreman, not adverse to skinnydipping in the local pond and pilfering of construction materials, Party Secretary Werner Horrath (Eberhard Esche) who is sent to tone him down and unfazed technician Kati Klee (Krystyna Stypułkowska) who is supposed to offer practical advice. Half romance and half social drama, the film suffers a little from being too long, but its historical value and is uncontested.


29. Tattoo (Robert Schwentke, 2002)

Nadeshda Brennicke Tattoo (2002)

This taut, high-concept, atmospheric thriller in the vein of ‘Se7en’ with some refreshing plot ideas is given a solid boost by the quirky chemistry between slacker, hard-partying rookie cop Schrader (August Diehl) and his veteran partner Chief Inspector Minks (Christian Redl). The Inspector casually blackmails Schrader to work for the homicide department after he busts him for possession of soft drugs at an improvised nightclub.

The case they proceed to work on involves people being literally skinned for their intricate tattoos. Soon they discover that a mysterious group hunts for 12 tattoos made by the same Japanese artists. Everything races for a surprising climax when a heretofore unknown 13th tattoo complicates things even more. Director Robert Schwentke went on to direct the suspenseful but far-fetched ‘Flightplan’ and the witty ‘Red’.


28. Eight Miles High (Achim Bornhak, 2007)

Eight Miles High

When gorgeous German teen Uschi Obermaier (Natalia Avelon) leaped from the dubious environs of the infamous ‘Kommune 1’ in Berlin right on the cover of ‘Playboy’, even the ‘Rolling Stones’ started paying attention. They invite her to party with them, but astoundingly are no match for a rowdy small-time hoodlum turned globetrotter Dieter Bockhorn.

Their raunchy affair takes to Pakistan and India and even prevents Uschi from becoming an international movie star when she turns down famed Italian producer Carlo Ponti. A lighthearted homage to the swinging sixties, the movie’s over-the-top charms are best personified by the antics of Keith Richards, played with hilarious effects by Alexander Scheer. Hippie nymphs can carry any movie!


27. A Coffee in Berlin (Jan Ole Gerster, 2012)

A Coffee in Berlin

Gorgeously shot in black&white, a film to be enjoyed especially by fans of Jim Jarmusch’s first movies, Woody Allen’s ‘Manhattan’ or the more recent ‘Frances Ha’, Jan Ole Gerster’s debut manages to single-handedly revive German comedy mired in saccharine productions usually involving Til Schweiger or childish slapstick a la Otto Waalkes or Michael Herbig a.k.a. Bully.

A suitable companion piece to the delightfully anarchic Berlin comedy Black Sheep (2006) directed by Oliver Rihs, it is a more introspective and existential film, following the aimless, awkward entanglements of a college drop-out played with admirable restraint by Tom Schilling. To add weight, there’s also some confrontation with the guilt of Germany’s dark past which plays out like a sobering coda to the previous charming light-heartedness.


26. Head-On (Fatih Akin, 2004)

Head On

This is a raw and gritty love story between two German Turkish immigrants from Hamburg who slowly fall desperately in love after meeting in a psychiatric institution: Cahit (Birol Unel), a dour, 40-year-old alcoholic and equally self-destructive Sibel (Sibel Kekilli) who is trying to escape her family’s patriarchal possessiveness by proposing a sham marriage to Cahit. Loneliness, jealousy, lust slowly add up and the characters fall in love, thus triggering a series of mishaps which spell doom for the couple. It all plays out bittersweetly in Istanbul.

The authentic feel and the sensitive acting are some of the strong points of the movie, with believable secondary characters and inspiring locations adding up to Fatih Akin’s confident directing and tasteful use of music throughout the movie. The film won the top prize at the 2004 Berlin Film Festival.


25. The Deathmaker (Romuald Karmakar, 1995)

The Deathmaker

In the venerable tradition of the German Kammerspiel, the whole movie takes place in the interrogation room of a high security prison. The story is based on the transcripts of the interviews conducted by the prison psychiatrist (Jürgen Hentsch) with the notorious German serial killer Fritz Haarmann (Goetz George) who has killed dozens of young boys.

The movie rests almost entirely on the shoulders of Goetz George’s stunning performance who delivers some of the most graphic descriptions of atrocities in any serial killer movie. Fritz is a wily, manipulative and treacherous character, possessing an uncanny ability to enmesh both his interrogator and the viewer into his world of heinous decadence. Together with the gruesome Austrian movie ‘Angst’ (1983) directed by Gerald Kargl, it is one of the best European additions to the serial killer sub-genre.


24. The Baader Meinhof Complex (Uli Edel, 2008)

aader Meinhof Komplex

The most entertaining and fluid of the 1970’s German terrorism subgenre (which includes Margarette von Trotta’s ‘Marianne and Juliane’, ‘The Legend of Rita’ and ‘The Lost Honor of Katharina Blum’, both directed by Volker Schlöndorff) is also the most recent one, featuring solid performances from Moritz Bleibtreu who is one of the most recognizable German actors working today, together with Til Schweiger and Daniel Brühl, Martina Gedeck and Johanna Wokalek. They personify a trio of radicalized activists who turn deadly: Andreas Baader, Ulrike Meinhof and Gudrun Esslin.

The film functions as both thriller and social drama, it offers insight into the troublesome 1970’s in Germany and it manages to keep its distance from the controversial and flawed characters in their battle against an even more reprehensible social system. This is required viewing for anyone interested in recent German history and sweeping docudramas with an attention to detail.


23. The Experiment (Oliver Hirschbiegel, 2001)


Tarek Fahd (Moritz Bleibtreu), a journalist, takes part in a scientific study in order to write an article about it and have some fun. It is a social experiment supposed to last two weeks inspired by the infamous real-life Stanford prison experiment from 1971, structured like a role-play: half the selected subjects are prisoners while the other half play the guards.

Human nature being what we know it to be, everything soon turns drastically violent, involving gradual mind games and a mysterious black box. Connecting everything with Germany’s dark past, the perfect casting and the actor’s sure-shot delivery makes it an eerie and timeless viewing experience, devoid of stylistic bombast.


22. Good Bye, Lenin (Wolfgang Becker, 2003)

Good Bye, Lenin

The year is 1989 and Christiane (Kathrin Sass) is the East German mother of two grown children, Alex (Daniel Brühl) and Ariane (Maria Simon). The three have grown especially close since Dad left them in 1978, apparently because he found a new love in the West. Their life behind the Iron Curtain pleases Christiane well enough, but Alex is restless. The last thing his mother sees before she collapses into a coma is Alex being beaten by riot police.

When she awakens eight months later, the Wall is down, Germany is reunified, and the Iron Curtain is now an enormous Coca-Cola banner. Ariane works at Burger King, and Alex has a job installing cable TV. Commercialism, capitalism and cross border freedom are things she’s assumed not be able to cope with, so her children weave an increasingly outrageous and far-fetched web of deceit, which includes fake news bulletins, procurement of food from the old days etc.

An allegorical family drama, Wolfgang Becker’s movie is a heart-warming viewing experience imbued with nostalgia and centered on one of the most momentous events in recent European history.


21. Run Lola Run (Tom Tykwer, 1998)

Run Lola Run

A teenager movie more than anything else, it offers all the cheap visual thrills one might imagine (kinetic animation, black and white flashbacks, fast forwards etc) while being the perfect homage to the MTV-generation of the 90’s. The story involves doomed patsy Manni (Moritz Bleibtreu) who manages to misplace a bag of money in the subway and his vermilion-haired lover and would-be savior Lola (Franka Potente), who has to help him get the money back to avoid retribution.

The movie plays out in three alternate versions of the same story (think Groundhog Day on steroids), all dependant on split-second decisions which crucially alter the characters’ destiny. Peppered by philosophical interludes disguised as flashbacks and held together by Lola’s constant running through the streets of Berlin, the movie manages to pack a wallop of sensory stimuli in its brief 81 minutes of running time.



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  • A fantastic list indeed and I have seen most of them. But I would strongly recommend adding “The Bridge” (Bernard Wicki 1959). It’s the best anti-war movie I have ever seen. Sadly it seems to be forgotten somewhat.

    • Alex Nasaudean

      Thanks! Agreed, there were many older movies (i.e. Pabst, more Murnau, more Herzog etc) for which there was no room without spoiling the balance between old and new, art-house and more entertaining fare.

      • Brian Lussier

        Yes, I would have loved to see Murnau’s Faust on here. It is my favorite not only of his films, but also my favorite German film, period.

    • I think “Die Brücke” should be listed on here. It is anti- war
      masterpiece and even entertaining masterpiece on German movie history.

  • peterblue11

    The Tin Drum is a movie that hasn’t aged well and is actually overrated, I’d place Head-On much higher at 1-3 and also add other films by Fatih Akin like Edge of Heaven and Soul Kitchen.

    • Alex Nasaudean

      It seems to have not aged well because ” they don’t make ’em like that any more”, it is literary and satyric, two qualities that are virtually extinct nowadays. It is still one of two German language movies to have won the Palme d’Or, and in my book, occasionally politicized it may be, still counts for a lot.

      • Brian Lussier

        I thought The Edge Of Heaven was a masterpiece, even stronger than Head-On. However, by the standards of those two films, Soul Kitchen was pretty crappy.

    • Mohan Kana

      The Tin Drum is woderful craft in classic by Volker Schlöndorff. It has subtitles in so many languages.

  • Jorge Saraiva

    You know nothing about german films. Edgar Reitz, Rudolph Thomme and Sybergerg. Do you kinow rhese directors?

    • Alex Nasaudean

      Lighten up, dude! The Heimat movies are a TV miniseries, the name is Rudolf Thome and I found Syberberg to be a bit too pretentious to be included on a list trying to balance art house and mainstream. And you don’t seem to know much about spelling…

  • Jorge Saraiva

    Have you heard about Heimat from Edgar Reitz? It´s a «little» better than the Live of Others

  • I personally would like to add “Olympia”(1938) to this list.
    No matter how it has reason, it is essential masterpiece on German and world movie history.

    • Alex Nasaudean

      Olympia is a documentary, that’s why I did not consider it.

  • Bennyshambles

    Nice choice having Christiane F. among such company. While I’m a huge fan of German Cinema (my favorite director of all time is R.W. Fassbinder) and agree with many of these choices/recommendations, I have had a love for Christiane F. which also extends to the soundtrack, the real-life Christiane’s Disco-Punk-New-Wave recordings (“Wunderbar” anyone?), etc. So it’s great to see it mentioned. Danke!

  • Bridj Tsubaki

    I’m german and I think it’s lovely to see that people love our movies outisde germany 🙂 , especially since half of germany hasn’t heard of half of these films in the list.. anyway PERSONALLY I would’ve loved to see a few other german must watch movies on this list. Unsere Muetter Unsere Vaeter for an example but that’s probably just my opnion. Anyway, still a nice choice.

  • wsxc8523

    M is definitely a worthy #1.

  • debankan sen

    knockin’ on heaven’s door (1997) is another good one

  • lucillalin

    Haneke is Austrian, not German!
    From Fritz Lang, “Dr Mabuse, Spieler” is the best one of his films. Its a lot better than Metropolis, because while it looks good like the more famous sci fi classic, it has way better plot and characters. Over 4 hours of pure silent thriller enjoyment. Dr Mabuse also has two sequels by Lang and I’d love to see a contemporary remake on it too, it fits every decade and century.

    • ijb

      Michael Haneke was born in Munich to a German father and lived and worked in Germany for many years. However, just because the director lives in Vienna is no strong reason not to list this as a German film. The production is 50% German (X-Filme, which also produced “Run Lola Run”, among many others) and 50% Austrian. It’s definitely not wrong to mention this as one of the best German films of the past decade, as it focuses on highly important issues of German history.

  • Tito Piccolo

    will check some of these.

  • sdf

    I am a huge Fan of Loriot but I don’t think it really works in other langauges. Even a lot of native Germans don’t “get” this kind of humor.

  • “White Ribbon” is Austria, I guess…?

    • Zawisza Czarny


      • ijb

        The film is 50% German (X-Filme, that also produced “Run Lola Run”, among many others), 50% Austrian. The film’s subject is pretty much fully German, and Haneke was born in Munich, so it’s definitely not wrong to mention this as one of the best German films of the past decade, as it focuses on highly important issues of German history.

  • Lina M Cruz

    I will add “The Princes and the Warrior” From the director Tom Tykwer

    • AC

      exactly, so much crap goes into best German movie lists, and this masterpiece is always out.

    • J_Lind

      Probably wasn’t on the list because Run Lola Run is on it and he wanted to put other films in.

  • Brian Lussier

    Can we also agree that The White Ribbon, although made by a director considered to be Austrian by most, was shot in German, features a German cast and crew, and was also partially financed by the German film board, or whatever it’s called? The themes are German, the characters are, the situations are, it takes place in Germany and sort of depicts to origins is the Nazi regime. Saying it is not a German film seems ridiculous when you add all that up! I mean, if Haneke living in Vienna makes this a non-German film, then shouldn’t we say, for instance, that Fitzcarraldo isn’t German either just because its main character is Irish? Anyway, just a thought…

  • I think one of the best contemporary comedies from Germany – deserving a place on this list or not is unimportant – is BANG BOOM BANG. A small, superb comedy and a great critic of small minded Germans. Absolutely a must-see…

  • Naomi Martes

    I am german and I do not know all of those movies mentioned. I would add for example “Kleine Haie”, too. Or “Das Wunder von Bern”. But maybe it is just my own taste. I am surprised that so many german movies are known outside of Germany. Thanks for the list though. I am thinking to look into some of the ones I never heard of.

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  • Jay

    Murderers Among Us (Die Mörder sind unter uns) is an amazing film. I would include it!

  • Jon Raundalen

    A fine list og great films, but personally I would have liked to see “Alice in den Städten”, “Im Lauf der Zeit” and “Paris, Texas” on the list.

  • Andreas Schulze Bäing

    I would add “Das Boot”, though that is probably know internationally anyway. The superb comedy Bang Boom Bang is definitely worth a watch – think Tarantino or Guy Ritchie style comedy set in the East of the Ruhr. English subtitles made by fans are available online. “Im Juli” by Fatih Akin is also great – kind of a East-West Road Movie. The film “Zugvögel … Einmal nach Inari” (english: Trains’n’Roses) is a superb road movie – on rails. “Jede Menge Kohle” is one of the many great films by Adolf Winkelmann.

  • Sebastián Francisco Maydana

    love Herzog but as he stated several times, his films are not “German”.
    Stroszek portraits life in the United States, Aguirre the jungle of
    Peru (and wasn´t even shot in german language but dubbed afterwards) and
    Fitzcarraldo the Brazilian Amazon jungle. I would undoubtedly put him
    on top if the list was named “Films by German directors” instead.

    • J_Lind

      They’re still considered “German” films because they’re “German” productions by “German” production companies with a “German” director. Klaus Kinski, a “German” actor is the principal in Fitzcarraldo and Aguirre. Bruno S. (Bruno Schleinstein), another “German” actor is the principal in Stroszek, and portions of it were filmed in Berlin as well as the US. By your standards, The Man Who Knew Too Much (1956) is Moroccan, A Passage to India is Indian, and Lawrence of Arabia is Jordanian. I hope you realize how absurd your logic is.

  • Please make this list of titles in German.

    • Alex Nasaudean

      It’s an English language site, anybody can look the German title up on

  • José Spiskowiec Rozkoszy

    Aimée & Jaguar,

    Knockin’ on Heaven’s Door, Sophie Scholl, Die fetten Jahren sind vorbei, Die Fälscher (50% german, 50% Austrian), Nirgendwo in Afrika, Die Welle,

  • Xanian

    I was getting angry and antsy, waiting for M to pop up somewhere in your list. But my excitement kept steadily building up as I scrolled down page 1, and bingo, right on top. Good list.

  • Carlo Beer

    What about The free Will (2006)?! Should be up among the top ten.

  • DonWright

    I was very glad to see the inclusion of Goodbye, Lenin, which captured in a humorous way the dramatic societal changes that took place around the time of reunification.

    A very strange and little-known German film–one that is utterly sui generis–is Schlafes Bruder, based on the novel of the same name by the Austrian writer Robert Schneider. Perhaps it could be included if the list were only somewhat longer!

  • 555patch

    What? Nothing by Uwe Boll? 😉

  • lauramoreaux

    I’m suprised that Nosferatu, eine Symphonie des Grauens isn’t in this list.

  • Maximo Cunillera

    Great list, my two cents on this list would be “the enigma of Kaspar Hauser” 1974
    By Werner Herzog

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  • Hans Rudolf Nollert

    Thanks–good list

  • Mohan Kana

    There is a political satire titled as “Schtonk” (1992). I watched this movie in 1993 and to date I couldn’t see another one to replace it !! I made a subtitle for it in Malayalam recently.

  • J_Lind

    Limiting this list to only 30 is a travesty. There are others of historical importance or of such high entertainment value with their creativity and originality that are considered among the best of German cinema. Over a fourth of the list is consumed by Fassbinder, Herzog and Lang films. There are more of theirs that should be listed, but only if it’s expanded to about 50-60 to accommodate not only those but films from a number of other directors that were pushed out by what they already have listed. Limiting a list like this to a small number is the wrong way to go about it.

  • J_Lind

    A list of 30 is much too short. Too many films are, by necessity, left off. Fassbinder, Herzog and Lang dominate, consuming over a fourth of the list with 8 films between them. Should be about 50 films. Very notably missing:
    * Faust (F.W. Murnau, 1926)
    * Vampyr (Carl Theodor Dreyer, 1932)
    * Dr. Mabuse: the Gambler (Fritz Lang, 1922)
    * The Testament of Dr. Mabuse (Fritz Lang, 1933)
    * Münchhausen (Josef von Báky, 1943)
    * The Enigma of Kaspar Hauser (Werner Herzog, 1974)
    * Heart of Glass (Werner Herzog, 1976)
    * Nosferatu, the Vampyre (Werner Herzog, 1979)
    * Woyczek (Werner Herzog, 1979)
    * Cobra Verde (Werner Herzog, 1987)
    * Lola (R.W. Fassbinder, 1981)
    * Veronika Voss (R.W. Fassbinder, 1982)
    * Knockin’ on Heaven’s Door (Thomas Jahn, 1997)
    * Sophie Scholl: The Final Days (Marc Rothemund, 2005)
    * Yella (Christian Petzold, 2007)
    * Jerichow (Christian Petzold, 2008)
    * Barbara (Christian Petzold, 2012)
    * Phoenix (Christian Petzold, 2014)
    * Diplomatie (Volker Schlöndorff, 2014)
    * Labyrinth of Lies (Giulio Ricciarelli, 2014)

    Münchhausen is particularly notable as it was made in the middle of WWII by UFA to celebrate their 25th Anniversary of film making. It’s one of the earliest feature films shot in negative-positive Agfacolor. I’ve watched it twice now. I wouldn’t know it had been made in the middle of WWII, or during the Nazi regime except for the production year. There’s no hint of it in the film, not even Nazi symbol or slogan that I could see anywhere. It’s like an oasis in the desert of heavy propaganda movies made in that era.


  • Mayur Hatibaruah

    You got to add Toni Erdmann. It not only revived German cinema but brought comedy albeit dark back to Germany. I’m still shocked by how it didn’t win the Oscar for Best Foreign Picture and how it missed out on the Palme d Or.

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