“Redupers not only tells the story of Edda, a freelance photojournalist, but also inscribes in its narrative the production issues which arise when a group of women work together on a photography project. Variety's review that the film deserves to be seen ‘by both femme lib followers and polit-pic pushers' can stand for the very issue Helke Sander and her photojournalist confront: communities that exist by virtue of a wall, West Berlin/East Berlin. (The title is a parody of an East Berlin radio slogan, ‘The all-around realized Socialist personality.') The second part of the title reveals how central the filmmaking process itself is to political awareness: outtakes imply the privileging of one kind of ordered experience over another. As the director has said, ‘I don't believe in finished things.... The beginning and end of the film Redupers should therefore suggest the simultaneity of what was not shown. Finished stories simulate a reality that does not exist.' Despite the seriousness of the filmmaking issues, the pressures upon a women's film group by its sponsors to produce only ‘women's issues,' and the economic conditions under which non-alienated work occurs, the vision behind the film is profoundly comic. Perhaps this caused the Berlin cinema owner to exclaim, and thus confirm the film's position, ‘But it's not a women's film at all!'” William Nestrick