The best Sonja Sutter’s movies

Everyman (German: Jedermann) is a 1961 Austrian drama film directed by Gottfried Reinhardt, based on the play written by Hugo von Hofmannsthal. The film was selected as the Austrian entry for the Best Foreign Language Film at the 34th Academy Awards, but was not nominated.

Berlin, early 1930s. Lissy, a young woman raised in a socialist working-class family, marries a clerk who promises her a better life. During the depression, however, he gets fired and can’t find a new job. Desperate for companionship and money, he falls for Nazi propaganda and joins the Storm Troopers. Lissy's brother, who for a time sympathized with the communists, now also wears the SA uniform. When he is killed by the Nazis—because of hisoppositional ideas—Lissy starts questioning things and makes a difficult and potentially dangerous decision.

Consul Werle holds a reception in honour of the homecoming of his son Gregers. At the reception, Gregers meets his childhood friend, Hjalmar Ekdal, who is married to Gina, a former maid of the Werle family. Hjalmar is unaware that Werle had an affair with Gina and that their 14-year-old daughter Hedwig is not his child. Gregers moves in with the Ekdals with the intention of allowing unsuspecting Hjalmar and his family to share in the "happiness of truth". Hedwig is entirely devoted to a wild duck, which lives on a pond outside their house. When Hjalmar learns the truth about his daughter, he wants to leave his family. Gregers advises Hedwig to kill the wild duck so that her father, impressed by this sacrifice, will return home. On the following day, Hedwig's birthday, she doesn't shoot the duck, but shoots herself instead.

I Want to Live (German: Ich will leben) is a 1976 Austrian drama film directed by Jörg A. Eggers. The film was selected as the Austrian entry for the Best Foreign Language Film at the 50th Academy Awards, but was not nominated.

Berlin, seven years after WWII. Four women are looking for happiness and a good man in the divided city. Their destinies are loosely connected through one person: the West Berlin dandy and womanizer, Conny. Released at the peak of East German cultural and political dogmatism, the film was heavily critiqued, especially by female party leaders who objected that its portrayal of the four women did not represent the qualities that characterized women in the new society. Now considered as a richly contradictory work, Destinies of Women represents an encore production by the Dudow/Eisler/Brecht creative team that also made Kuhle Wampe in 1932.