Compassion is threaded inextricably through these recently restored documentaries, which cast warm light on the lives of Turkish-German women in 1990s Northern Germany. That both films are directed by a social worker—who herself moved to the area of Lübeck from Istanbul—is acutely felt: each one radiates a rare sympathy for its resilient subjects. Serap Berrakkarasu may be little known, even among admirers of feminist nonfiction filmmaking. Yet with these generous films, she contributes to the strong socialist-feminist tradition of German postwar cinema, expanding its frame to consider other cultures finding their footing on new ground.
Referring to Berrakkarasu with trusting affection, interviewees in the films disclose their stories of migration and integration as if to a close friend. Daughters of Two Worlds (1991) is domestic in focus, making space for two women to reflect on what home might be as first-generation immigrants. Amateur though she is, Berrakkarasu knows how to use montage to disquieting ends: troubled accounts of arranged marriage are juxtaposed with scenes of a wedding, divesting the promise of happiness from that most celebratory day. Money for Bread (1994), meanwhile, concerns itself with the world of labor. Wearing blue overalls and marigold gloves, Turkish and German workers intermingle on the production line of a tinned-fish factory. Industrious hands are met with more labor later—cooking, cleaning, tending to allotments—and Berrakkarasu and her cameraperson, Gisela Tuchtenhagen, marvel at the unshakeable spirit and speedy dexterity with which all of it is done. Amid these endless demands, some of the workers confess that they are no longer able to dream at night. If they can no longer dream, then they can at least sing—and Berrakkarasu listens to those rousing songs of survival with genuine interest and heartfelt care.

Compassion is threaded inextricably through these recently restored documentaries, which cast warm light on the lives of Turkish-German women in 1990s Northern Germany. That both films are directed by a social worker&#8212;who herself moved to the area of Lübeck from Istanbul&#8212;is acutely felt: each one radiates a rare sympathy for its resilient subjects. Serap Berrakkarasu may be little known, even among admirers of feminist nonfiction filmmaking. Yet with these generous films, she contributes to the strong socialist-feminist tradition of German postwar cinema, expanding its frame to consider other cultures finding their footing on new ground.
Referring to Berrakkarasu with trusting affection, interviewees in the films disclose their stories of migration and integration as if to a close friend. Daughters of Two Worlds (1991) is domestic in focus, making space for two women to reflect on what home might be as first-generation immigrants. Amateur though she is, Berrakkarasu knows how to use montage to disquieting ends: troubled accounts of arranged marriage are juxtaposed with scenes of a wedding, divesting the promise of happiness from that most celebratory day. Money for Bread (1994), meanwhile, concerns itself with the world of labor. Wearing blue overalls and marigold gloves, Turkish and German workers intermingle on the production line of a tinned-fish factory. Industrious hands are met with more labor later&#8212;cooking, cleaning, tending to allotments&#8212;and Berrakkarasu and her cameraperson, Gisela Tuchtenhagen, marvel at the unshakeable spirit and speedy dexterity with which all of it is done. Amid these endless demands, some of the workers confess that they are no longer able to dream at night. If they can no longer dream, then they can at least sing&#8212;and Berrakkarasu listens to those rousing songs of survival with genuine interest and heartfelt care.

Turkish-German Tales: Two by Serap Berrakkarasu

TURKISH-GERMAN TALES: TWO BY SERAP BERRAKKARASU

While she is little known, Serap Berrakkarasu deserves to be counted among the committed feminist agitators of German cinema. Focusing on the lives and labor of Turkish-German women in the 1990s, her recently restored films of heartfelt sympathy are potent songs of migration and survival.

While she is little known, Serap Berrakkarasu deserves to be counted among the committed feminist agitators of German cinema. Focusing on the lives and labor of Turkish-German women in the 1990s, her recently restored films of heartfelt sympathy are potent songs of migration and survival.