© DEFA-Stiftung/Fotograf: Olaf Skrzipczyk
Erster Verlust
Si̇nema Transtopia
Summer, 1942. When the farmer Heinrich is drafted into the army, his farm’s existence comes under threat because his wife Kathrin and his sister Frieda cannot manage the work alone. The Nazi authorities force a group of Soviet prisoners of war, closer to death than life, to work in the village. Stepping into her brother’s shoes, Frieda ensures that one of the prisoners is sent to work on her farm and commands him with an iron fist. Kathrin feels defenseless against Frieda’s emotional coldness and hides her loneliness, while her feelings of resentment about her own existence grow. Director Maxim Dessau took a considerable personal risk with this, his debut feature film, after he was forced to abandon his previous project ‘Schnauzer’ for political reasons years before. Rather than conforming to popular taste, he and his co-creators made radical aesthetic choices, eschewing the standard DEFA practice of post-synchronization in favor of original sound and choosing a fragmentary narrative style captured by enthralling black-and-white cinematography.
‘First Loss’, GDR 1990, director: Maxim Dessau, 96 min, OV with EN subtitles
Talk with: Maxim Dessau (director), Peter Badel (cinematographer) snd Philip Zengel (DEFA-Stiftung)
In German
| Tickets | € 10 |
| When | Sat 24.10.26, 17:00 |
| Where |
Event details
Event details and guests
Film Info
D: Maxim Dessau
W: Maxim Dessau
C: Peter Badel
E: Dorothea Brühl
M: Karl-Ernst Sasse
A: Pawel Sanajew, Julia Jäger, Uta Koschel, Jaecki Schwarz, Martin Seifert
P: DEFA-Studio für Spielfilme
Prod: Harald Andreas
WP: October 1990
Original format: 35mm, b/w
Screening print: 2K DCP, 96 min, Deutsche Kinemathek
Restoration Information
The 2K restoration of the film was carried out by the Berlin-based company Eurotape. The 35mm original camera negative, which was in some parts heavily damaged by scratches, was used for the image processing. A 17.5mm magnetic tape served as the source for the audio restoration. The director Maxim Dessau oversaw the entire restoration process, while the color grading was supervised by cinematographer Peter Badel. The digitization was funded by the German Film Heritage Program (FFE).
Peter Badel
was born in 1953 in Berlin, Germany, and is a documentary filmmaker and cinematographer who specializes in theatrically released documentaries, feature films and television productions. After studying cinematography at the Film and Television Academy in Potsdam-Babelsberg, he worked as a cinematographer at the DEFA studio for feature films before becoming freelance in 1992. He also organizes symposia on cinematography and is extensively involved in teaching and mentoring at various universities and academies. Badel has enjoyed a collaborative friendship with the film director Thomas Heise since 1982 and frequently works with the directors Christian Klemke, Maxim Dessau, Kurt Tetzlaff and Jan Lorenzen. He has a collection of social photography of the 1920s and has served as a curator on the subject; he is also a member of the Akademie der Künste (Academy of Arts) in Berlin. He is currently working on ‘Übergang – ein Film für Thomas Heise’ (2026).
Maxim Dessau
was born in Berlin in 1954. He studied film directing at the Film and Television Academy in Potsdam-Babelsberg and went on to become a masterclass student at the Academy of Arts in Berlin and a guest lecturer at the city’s Ernst Busch University of Theatre Arts. He made his debut feature film ‘Erster Verlust’ (1990) at the DEFA studio for feature films in Babelsberg. In 1992, he received the Bavarian Television Award for the documentary ‘Ugorski – Denn seinen Freunden gibt er’s schlafend’. Alongside his film career, Dessau has worked in lyric theater at the Staatsoper Stuttgart, Münchener Biennale and Berliner Ensemble, among others. He has also written ballet libretti for Theater Kiel and Oper Leipzig and has led workshops in opera directing at institutions including the Hanns Eisler School of Music Berlin and the Weißensee Academy of Art Berlin.
Philip Zengel
studied communication science and management in Erfurt, Oslo and Leipzig. In 2017, he wrote his master’s thesis on “Online Communication Strategies in the Film Industry: Marketing Opportunities for Theatrically Released Feature Films in Germany”. He has worked for the DEFA Foundation in Berlin for many years, beginning during his studies, and has headed its public relations department since 2020. In this role, he presents film introductions and writes texts on film history.
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About Film Restored
In 2026, the Deutsche Kinemathek’s film heritage festival explores risk in cinema. We are examining the perils facing film producers and distributors; looking at the challenges encountered in archives and during restoration work; and showing films about characters who have everything at stake. These are layers of risk that often overlap and are mutually reinforcing.
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