At 83, Rita Reinecker proves that it’s never too late to bring powerful stories to life. Winner of the Vienna Indie Short Film Festival, her screenplay—based on the memoirs of a childhood friend—chronicles a young boy’s harrowing journey through post-war Germany. Reinecker, daughter of famed screenwriter Herbert Reinecker, transforms historical trauma into an emotionally rich narrative of survival, resistance, and moral complexity. In this conversation with Patrick Roy, she reflects on the deeply personal nature of the project, the legacy of storytelling in her life, and why the human side of history still matters—especially now.
Your screenplay explores a harrowing journey through war-torn Germany, seen through the eyes of a young boy. What inspired you to tell this story from such an innocent yet perceptive perspective?
This is a true story. My friend sent his memoir manuscript to me, and, from the beginning, I said it would make a great film. The story covers 1945 to 1948. He was five years old when he and his family survived the infamous Dresden fire bombing. These are his memories from that time.
His father was suspected of involvement in the 1944 Hitler assassination attempt. When he was warned, the family left for the American-occupied West immediately. Afraid of “loose lips” by the young children, the parents kept the truth from them. It is revealed in episode 7.
The Resistance provided transportation and hiding places. It became a treacherous journey that took months before they finally arrived at Stuttgart, only to realize Paradise eluded them
The film portrays a German family not as perpetrators, but as victims and even resisters. How important was it for you to offer this nuanced portrayal of Germans during and after WWII?
Very important, since it shows the views from the “other side”. In other words, not everyone agreed with Hitler. Adding to the family conflict is the fact that both grandfathers were staunch Nazis, who did not know their son/son-in-law was a member of the Resistance. This made some interesting dialogue!
Your father, Herbert Reinecker, was a successful screenwriter. In what ways has his work influenced your own writing voice or approach to storytelling?
I liked storytelling from an early age. Once I knew how to write, I wrote little stories for my dad. At first, he was encouraging, even paid me ten Pfennig for a story, but that didn’t last, and after my parents’ divorce, I wrote less. I lived with my mother who didn’t encourage my writing. I stopped writing when I was 14 years old because I felt that my father didn’t care, didn’t love me. I resumed writing in 1990 and haven’t stopped. At first it was mostly editing. I always had a “thing” for writing. I remember having a crush on a boy when I was 13. The moment I realized he was a bad speller and used bad grammar, I dropped him like a hot potato. I don’t know if my dad’s writing influenced mine. I have my own style. When I wanted to pursue writing, my father was not supportive, so I became a graphic designer… and did write copy. I attended University in Minneapolis for a writing degree, which I achieved in 1998. Then writing became my career.
At 82, you’ve completed a seven-episode screenplay and are working on a novel — that’s incredibly inspiring! What keeps your creative energy alive at this stage of your life?
Well, I’m a “young” 83-year-old, if you know what I mean. When I wrote this script, I realized that screenwriting was in my blood. My father died in 2007, so he never knew. Now I’m working on a novel that most likely will also become a screenplay.
The narrative touches on themes of displacement, survival, and moral complexity. How did you balance the historical accuracy of the era with the emotional truth of the characters?
I used his manuscript as a guide. Everything in it really happened.
The character of the father—a German Major and resistance member—is compelling. Was he inspired by a real person, or is he an amalgamation of different stories you encountered?
This is a true story; he is a very real person. He was both.
What challenges did you face in adapting this personal, memory-driven story into a screenplay structure that works for a TV format?
The main challenge was writing dialogue. Turns out I was really good at it! The biggest challenge was that my friend objected to my leaving things out, mainly because they were somewhat repetitive. I asked him, “Have you ever watched a movie where you had first read the book and liked the book better?” Because not everything can be shown.
You mentioned reading your neighbor’s memoir as a starting point. Can you talk about how much of the script is based on his real-life experiences and how much is dramatized?
Nothing is dramatized. It’s a true story. He has an amazing memory! We were neighbors in Germany (Tegernseee, 1961) and kept in touch over the years. He now lives in California, I live in Minnesota.
What do you hope international audiences, especially younger viewers, take away from this story about post-war trauma, moral ambiguity, and resilience?
I hope they can see the human side. Not every German was a Nazi. They will see the war and its aftermath that was horrific. They will see that good things will survive, always.
Looking back on your journey—from writing for ten Pfennigs as a child to completing this ambitious project today—what advice would you give to other “late bloomers” with creative dreams?
Just start writing! When I resumed writing in 1990, nothing could stop me. You’re never too old! Find writer friends, writing groups. Don’t stop reading!
