Rube and Mandy gave up their pretensions to belonging for three gloriously touristic hours atop a big boat in the middle of the Spree, passing through the locks into the Landwehrkanal and other byways, and meeting, it must be said, a very different Berlin.   They followed up the tour by tracking down but not entering a series of galleries designated as Gallery-Weekend hotspots; in what can retrospectively be construed as an act of resistance, they sat down a block away and ate so much Norwegian food that art was out of the question.  At least the restaurant was named for an artist: Munch’s Hus.  (And, in a thematically-relevant twist, it was full of mechanical reproductions of Munch’s works.)

“The Emergence of the Modern Age: Jews in the Kaiserreich and the Weimar Republic.” 

  Berlin

After a morning with Adorno and other friends, Rube and Mandy put on their country mouse shoes and took the U2 to the U3 to Dahlemdorf Ubahn station: a thatched hut, btw., from whence they walked to Grunewald, Berlin’s largest greenspace.  They walked around the eponymous Grunewaldsee, stopping to eat only twice (having fortified themselves at the Crobag in the Alex-U), first at Forsthaus Paulsborn and then again, a mere kilometer later, at their new favorite Biergarten, Châlet Suisse.

Marianne und Juliane:   [note: film contains graphic Holocaust footage]

Wiki re the director: “Margarethe von Trotta (born 21 February 1942) is a German film director who has been referred to as a “leading force” of the New German Cinema movement. […] Von Trotta has been called ‘the world’s leading feminist filmmaker.’ The predominant aim of her films is to create new representations of women. Her films are concerned with relationships between and among women (sisters, best friends, etc.), as well as with relationships between women and men, and involve political setting. Nevertheless, she rejects the suggestion that she makes ‘women’s films.'”