In the context of the changes in the world of labour and living in the last 20 years, Jeder kann alles werden II reflects on the possibilities and limits of self-determination. The programme is conceived as a direct sequel to Jeder kann alles werden I, advancing through history from the Wende in 1989/90 and the following years through to the period following socialism and on into the present. In Tibor Hajas’ legendary 1976 film Öndivatbemutató (Self Fashion Show) the filmmaker comments post hoc on the public gestures of his protagonists in front of the camera, exposing the ambivalence of self-presentation and social control. In an early work by Anri Sala, Intervista (Finding the Words), the artist confronts his mother with her own repressed past as a convinced communist youth. “We were able to live, fall in love, have children”, she says, looking back at the experience of everyday life and the strategies for surviving it inside Albania’s “deaf and dumb” system. Christian Petzold’s Ostwärts (1990) casts a spotlight on part of the „wild East“ at the end of the year 1990, when everything seemed possible in the former German Democratic Republic to entrepreneurs, fortune seekers, and creative people of all stripes. At the same time the upheaval was already hitting hard those no longer fit for survival. In Sieben bis zehn Millionen (2005), Stefan Panhans deals with potential for producing both stress and salvation inherent to contemporary consumer culture. An insane monologue heightens a purchase decision to an existential plight. The politically thinking worker and citizen has long ago mutated into a consumer, the new criterion of general wellbeing.