NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Masters of Cinema Blu-ray (May 2025): Masters of Cinema has transferred four East German sci-fi films to Blu-ray as part of their Strange New Worlds: Science Fiction at DEFA package. The films are The Silent Star (1960,) Signals: A Space Adventure (1970,) Eolomea (1972) and 1976's In the Dust of the Stars. It is cited that "All four films are presented in 1080p HD from restorations by the DEFA Foundation. Signals: A Space Adventure presented from a new 6K scan of the original 70mm camera negative, Eolomea presented from a 4K scan of the original 70mm camera negative. The Silent Star and In the Dust of the Stars presented from 2K scans of the original 35mm camera negatives". Further text indicates "SIGNALS: A SPACE ADVENTURE was made with a budget of 5 million marks. DEFA Studios headed the co-production with Przedsiebiorstwo Realizacji Filmów Warsaw. This utopian adventure film was shot on 70mm ORWO-Color film and premiered in Berlin's Kino Kosmos on 17 December 1970. The film was scanned in 6K resolution from the 70mm original camera negative and restored in 4K. A six-track magnetic tape recording was used as the source material for sound remastering. PHAROS - The Post Group, Munich carried out digital restoration in 2022.".

The Silent Star was shot in vibrant Agfacolor and the film boasts a retro-futurist aesthetic with bold reds, blues, and greens that is picked up well by the 1080P. The Cosmocrator’s sleek, metallic interiors contrast with Venus’s eerie, crystalline ruins and glowing machinery, filmed in studio sets with a painterly, almost surreal quality. Cinematography (Joachim Hasler - Hot Summer) uses dramatic lighting and wide shots to evoke a sense of cosmic scale, though the effects are charmingly dated. Grain is prevalent and the HD presentation is quite appealing on a dual-layered disc with a maxed out bitrate. Signals: A Space Adventure features a minimalist, monochromatic look with muted grays and whites dominating the spaceship’s sterile interiors, reflecting a stark, Kubrick-inspired aesthetic. Studio-bound sets use soft lighting and simple props, while zero-gravity scenes add playful dynamism. The color palette is subdued with occasional blues for cosmic vistas, creating a contemplative, retro-futurist vibe. Effects are surprisingly strong. The transfer shares the second disc with Eolomea exceeding that appearance restored from 6K. There are issues - minor edge-enhancements - likely in the source. I would expect fans to enjoy the HD presentation if they don't take out their magnifying glasses. Back in 2017, we reviewed a German Blu-ray of Eolomea HERE - and have compared some captures below. Like the editions, this is the most notable flaw in the set. There are reasonably glaring examples of edge-enhancement and scratches - matching the German release (see samples.) I'd say the Masters of Cinema 1080P image is a slight uptick in quality, but in certain sequences, the digitization remains visible. This is undoubtedly on the master so it probably won't improve. Perhaps I'm being too critical - it's fully watchable - we are just spoiled these days with stellar UHD. The visual style of Eolomea is somber, with a muted palette of browns, grays, and greens capturing the bleakness of Earth’s space stations and desolate landscapes doubling as alien worlds. Cinematography (DoP Günter Jaeuthe - Philipp, der Kleine) employs slow pans and tight close-ups to emphasize emotional isolation, while sparse, functional sets reinforce the film’s introspective tone. Lighting is naturalistic, enhancing the melancholic atmosphere. In the Dust of the Stars, in the 1.66:1 aspect ratio, dazzles with a flamboyant, disco-infused look, featuring vivid pinks, purples, and golds in TEM 4’s opulent interiors and sparkly costumes. Romania’s salt mines and caves create surreal, alien landscapes with jagged, reflective surfaces. Cinematography (Peter Süring - The Thing in the Castle) uses dynamic angles and colorful lighting to amplify the campy, satirical vibe, blending psychedelic flair with gritty dystopian undertones. From a 2K scan of the original 35mm camera negative, the 1080P transfer highlights the film’s flamboyant aesthetic quite effectively. It's the best image quality of the four films, on a dual-layered disc with a maxed out bitrate. There is a lot of impressive eye-candy with tight close-ups and exuberant colors. I'd always prefer better-managed grain, but visually, this particular films is sweet, but like all, imperfect on digital. The video transfers preserve each film’s unique aesthetic - retro-futurist, minimalist, somber, or campy - making this set a visual triumph for DEFA’s sci-fi legacy.     

NOTE: We have added 172 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE.

On their Blu-rays, Masters of Cinema uses linear PCM mono tracks (24-bit) in the original German language. Optional 5.1 surround in DTS-HD Masters is offered for The Silent Star and Signals: A Space Adventure. The former is quite robust at 24-bits, but the latter is less-so at 16-bits. Strangely, there is no surround option for Eolomea, which I think did have a 6-track theatrical track, like Signals.

The soundscape of The Silent Star features a dramatic orchestral score by Andrzej Markowski with swelling strings and ominous brass underscoring the cosmic journey and Venus’s eerie ruins. Sound effects include pulsing electronic hums for machinery and sharp, metallic clanks for the Cosmocrator’s operations, evoking retro sci-fi. Dialogue is delivered in a formal, multilingual cadence (reflecting the diverse crew) with clear, dubbed voices typical of DEFA’s international co-productions. The soundtrack for Signals: A Space Adventure was by Karl-Ernst Sasse (The Last Laugh, Destiny and Asphalt) is minimalist with sparse, ambient drones and soft electronic tones enhancing the film’s contemplative tone. It is exported well by the uncompressed - reasonably clean and consistent. Sound effects are subtle - gentle beeps, whooshes for zero-gravity, and faint hums for the spaceship - prioritizing atmosphere over action. Dialogue is introspective and deliberate, delivered in measured tones, often emphasizing philosophical exchanges. Günther Fischer’s (Nightkill) score for Eolomea is understated, using melancholic piano and string motifs to mirror the film’s emotional isolation. Sound effects are minimal - low rumbles for space stations, distant echoes for alien landscapes - amplifying the quiet tension. Dialogue in German is delivered with a somber, introspective tone, with Maria Scholl’s measured speech and Oli Tal’s passionate outbursts carrying the narrative’s weight, supported by MoC's subtitles. Karl-Ernst Sasse also does the score for In the Dust of the Stars, blending funky, disco-inspired beats with pulsing synths, reflecting TEM 4’s hedonistic vibe, contrasted by eerie strings for its dystopian undertones. Sound effects include sharp laser zaps, clattering machinery, and crowd murmurs during party scenes, adding dynamism. Dialogue in German is lively and theatrical with the Cyrano crew’s urgent exchanges and the elite’s smug tones, enhanced by expressive dialogue. The audio transfers are adept. Effects and dialogue are clear despite mono limitations. Masters of Cinema offers optional English subtitles (newly revised for accuracy per the package details) on their three Region 'B' Blu-rays.

The Masters of Cinema Blu-rays offer new commentaries for each film written by Romanian film historian Rolland Man - Teaching Fellow in Film Studies and Literature and Drama for the Centre for Open Learning at the University of Edinburgh - and presented by David Melville Wingrove (contributor to Rethinking George MacDonald: Contexts and Contemporaries) - lecturer in Hollywood Glamour and Gothic Excess. They offer scholarly insights into DEFA’s sci-fi context, production challenges, and ideological themes (e.g., nuclear fears in The Silent Star, anti-capitalism in In the Dust of the Stars). Expect detailed analysis of directors (Maetzig, Kolditz, Zschoche), casts, and Cold War influences, making these tracks essential for fans and academics. The expertise ensures engaging, well-researched data. I have not completed all four but enjoyed very much what I have indulged in so far. It's a fabulous addition to the set. Blast Off is a new 25-minute interview with sci-fi scholar Mark Bould (The Routledge Concise History of Science Fiction) exploring DEFA’s unique place in global sci-fi, comparing the films to contemporary sci-fi. Bould’s academic perspective covers socialist themes, production design, and cultural impact, offering a concise yet insightful overview. It’s a meaty addition for contextual understanding. Soviet cinema expert Claire Knight’s (Stalin's Final Films: Cinema, Socialist Realism, and Soviet Postwar Reality, 1945-1953) new 1/2 hour interview entitled Red Skies delves into the films’ Eastern Bloc roots, emphasizing DEFA’s collaboration with Polish studios (The Silent Star, Signals,) tensions between official ideology and audience engagement, as well as Soviet influences. Discussion of Cold War politics, collectivist ideals, and technical achievements (e.g., 70mm for Eolomea), making this feature a robust companion for historical depth. Marx Attacks is a new 1/4 hour essay by Daniel Jonah Wolpert (preparing a book on the so-called "Trümmerfilm", in German Cinema from 1946-1949) that analyzes In the Dust of the Stars' anti-capitalist satire, dissecting its disco aesthetics, class struggle themes, and Romania’s surreal landscapes. There is a brief archival newsreel, 'British Filmmaker Visits DEFA', that captures Anthony Asquith’s visit to The Silent Star’s set, providing a brief but fascinating glimpse into DEFA’s international outreach. Its historical value outweighs its short length, offering a snapshot of 1950s East German cinema. A second archival newsreel, A Rocket in the Soviet Zone, is included - this 40-second piece covers The Silent Star’s production, showcasing sets / crew. Cosmonaut Dreams is a 20-minute archival featurette on Eolomea, featuring crew; Kurt Marks (special-effects cameraman who also worked on Signals: A Space Adventure and In the Dust of the Stars,) Barbara Müller-Braumann (costume designer - Flowers for the Man in the Moon, The Legend of Paul and Paula,) and Jan-Peter Schmarje (technician - Anflug Alpha I,) detailing Eolomea’s 70mm production, practical effects, and costumes. It offers technical insights into DEFA’s craft, enriching the film’s context. Dusting Off After 30 Years is a 1/4 hour archival interview with In the Dust of the Stars’ cinematographer Peter Suring discussing the film’s vibrant visuals, Romania’s salt mines, and disco-inspired lighting. The Robot is Klaus Georgi’s 1968 1/4 hour animated short, produced by DEFA’s Animation Studio, featuring a quirky sci-fi tale with playful music and retro visuals, complementing the main films’ themes. Jana and the Little Star is not similar in length from 1971. Christl Wiemer’s animated short, also from DEFA’s Animation Studio, offers a whimsical, family-friendly sci-fi story with colorful animation and light music. Love 2002 is Joachim Hellwig’s 1972 25-minute documentary short, produced by DEFA’s 'Newsreels and Documentary Films'. It explores futuristic love in East Germany with a socialist lens. There are trailers for each film that showcase DEFA’s bold marketing with dramatic narration and vibrant clips, offering nostalgic value. The package has a limited edition hardcase and artwork by Carly A-F with reversible inner sleeves with unique designs for each film add collectible flair. A beautiful keepsake is the limited edition 60-page collector’s book that features an introduction by Mariana Ivanova (Cinema of Collaboration: DEFA Coproductions and International Exchange in Cold War Europe) and new essays by Sebastian Heiduschke (East German Cinema: DEFA and Film History,) Sonja Fritzsche (The Liverpool Companion to World Science Fiction Film,) and Associate Professor of German Studies Evan Torner. Covering DEFA’s sci-fi legacy, socialist themes, and production history, this book is a scholarly highlight, enhancing the set’s academic appeal.

Directed by Kurt Maetzig (The Rabbit Is Me, Marriage in the Shadows,) The Silent Star (1960, aka Der schweigende Stern / First Spaceship on Venus) is an East German-Polish co-production, adapted from Stanisław Lem’s The Astronauts. Themes involve Cold War nuclear anxiety, portraying technology as a double-edged sword capable of annihilation if misused. It champions global cooperation, symbolized by the diverse crew (Japanese, African, European members) as a socialist antidote to imperialist aggression, critiquing the Venusians’ hubris as a warning against unchecked militarism. The emphasis on collective survival over individual heroics reflects Marxist ideals, while the desolate Venusian landscape underscores existential fears of humanity’s fragility. The film’s serious tone, colorful yet stark production design, and international cast make it a DEFA landmark, though its deliberate pacing mirrors its cautionary message. Directed by Gottfried Kolditz, Signals: A Space Adventure (1970, aka Signale – Ein Weltraumabenteuer) is an East German-Polish film, inspired by 2001: A Space Odyssey, centering on a spaceship crew exploring cosmic mysteries in a future of interstellar travel. Themes explore existential isolation and the search for meaning in an infinite universe, a socialist counterpoint to capitalist individualism. It emphasizes collectivism, with the crew’s camaraderie reflecting East German ideals of shared purpose. Filmed in minimalist East German studios, its retro-futurist aesthetic and practical effects underscore a utopian yet introspective vision, aligning with Soviet sci-fi’s philosophical bent (Solaris). Directed by Herrmann Zschoche, Eolomea is a reflective sci-fi drama set in a future where space exploration is routine. The story begins with the disappearance of eight cargo ships and the silence of the Margot space station, prompting scientist Maria Scholl to halt flights to a mysterious sector. Themes center on the tension between individual ambition and collective responsibility, a socialist critique of personal gain versus communal progress. The pursuit of Eolomea symbolizes humanity’s yearning for enlightenment, tempered by the cost of abandoning Earth’s struggles. Utopian optimism pervades with the film suggesting knowledge can unify rather than divide, yet its simplistic resolution reflects East German idealism. Themes of sacrifice and transcendence are grounded in personal relationships, set against stark landscapes doubling as alien worlds. The slow, introspective narrative prioritizes emotional resonance over spectacle, making it a meditative DEFA entry. Lastly, directed by Gottfried Kolditz (as was Signals: A Space Adventure), In the Dust of the Stars (1976, aka Im Staub der Sterne) is a visually bold sci-fi film that follows the Cyrano crew responding to a distress call from planet TEM 4. Greeted by a decadent, humanoid society denying the signal, the crew enjoys lavish parties marked by disco aesthetics and sparkly costumes. Their suspicions uncover an oppressive regime exploiting enslaved indigenous people, controlling the planet’s resources. Themes embrace a sharp anti-capitalist allegory, critiquing consumerism and exploitation through TEM 4’s hedonistic elite, a stand-in for Western decadence. It champions socialist solidarity with the crew’s alliance with the oppressed reflecting class struggle. Themes of deception and resistance are woven into the campy, disco-infused style, blending satire with moral clarity. The film’s critique of superficial progress (lavish parties masking slavery) and its call for collective action align with DEFA’s ideological goals, though its heavy-handed messaging can overshadow nuance. The vibrant production design - co-produced with Romania - and alien landscapes make it a cult favorite, balancing kitsch with commentary. These DEFA films, produced during the Cold War, embody East German socialist values - collectivism, anti-imperialism, and faith in scientific progress - while engaging with universal sci-fi themes. Their blend of philosophical depth, social critique, and retro aesthetics makes them enduring artifacts of socialist sci-fi. The Silent Star echoes Forbidden Planet. Signals’ existential isolation parallels Tarkovsky's Solaris. Eolomea’s utopian curiosity reflects Star Trek’s Roddenberry-esque optimism, but grounds it in socialist sacrifice. In the Dust of the Stars evokes Logan’s Run’s dystopian gloss. DEFA’s practical effects, studio sets, and ideological messaging contrast Hollywood’s spectacle, offering a distinct Eastern Bloc perspective preserved enticingly by Masters of Cinema's brilliant Blu-ray package. It's irresistible.

Gary Tooze