Abstract
The article deals with the question of passage of time in Wim Wenders’ Der Himmel uber Berlin and Tom Tykwer’s Lola rennt. Both directors show contemporary love stories in their works. Their film productions can be seen as examples of a melodrama, but they also depict the social and geopolitical situation in Berlin in two different temporal contexts. While Wenders shows the divided capital of Germany during the Cold War, Tykwer presents a rapidly developing metropolis at the end of the 20th century. The situational irony which characterizes the filmic work of Tykwer in particular highlights the creator’s distance to the melodramatic dilemmas he cinematically ponders on.
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