Mother Küsters Goes to Heaven

Emma discovers that Hermann killed his supervisor or the supervisor's son, then took his own life. The act follows rumors of layoffs and Hermann's temporary insanity after hearing layoff announcements. Emma is left to cope with the shock and the social fallout.

Reporters descend on the Küsters family, sensationalizing the tragedy for readers and viewers. Emma finds little solace from her son Ernst, while Helene and Ernst go on holiday, and Corinna keeps her distance. The relentless coverage deepens Emma's isolation and sense of betrayal.

At Hermann's funeral, Karl and Marianne Thälmann, members of the DKP, introduce themselves and invite Emma to their home, which Marianne had inherited. They present themselves as potential allies and explain their political aims. Emma is cautiously curious but careful about getting involved.

The Communists romanticize Hermann as a revolutionary victim of capitalism, and Emma is initially unpersuaded. Corinna warns her to stay away, pointing out the differences between living under East and West conditions. Emma's skepticism slowly gives way to questions about the system.

Niemeyer, a photojournalist who had shown interest in the family, writes an article about the tragedy for a magazine. Emma finds the piece objectionable, while her daughter defends him as simply earning a living.

Back at the factory, Emma discovers that the pension scheme does not apply in her case. The workers' council and the company board are aligned on denying her benefits, underscoring the social and economic barriers she faces. This denial deepens her sense of injustice.

Ernst and Helene return from holiday and announce they will set up home on their own. Helene, who is pregnant, clashes with her sister-in-law Corinna, highlighting growing fractures within the family.

Emma joins the Communist Party after being persuaded by Karl's newspaper article and speaks at her first DKP political gathering. A young male paper seller who attends the meeting offers his contact details, suggesting he could be more than an acquaintance.

Emma grows impatient with the DKP's passive tactics and their need to campaign in the forthcoming elections. Karl explains the political strategy, but Emma seeks more immediate action.

She connects with a small group of anarchists who promise more spirited activism. They argue for decisive actions beyond parliamentary politics, contrasting with the DKP's approach.

The film critiques the bloodthirsty German media of the 1970s, showing how sensational reporting feeds on tragedy. Emma's experiences reveal a broader pattern of selfishness and indifference in contemporary society.

Fassbinder's film also criticizes the small German Communist Party's moderation and 'armchair activism'. Emma's journey toward more direct, radical action underscores the tension between ideology and real-world needs.