There is never any hint of any form of cultural stereotyping in the way the director forms the characters. She also does not take part in any kind of anti- communist sentiment that has existed since the fall of the Berlin wall and the former Soviet Union except in her portrait of the Stasi. The Stasi are portrayed as abusing power, ruthless, misanthropic and oppressive. The Stasi and authority in general play a huge part throughout the film in terms of Konrad and Sophie's relationship and lives. It is they, not the symbol of the wall, that keeps the couple apart and later on keeps Konrad from seeing his son Alexander after he has failed to convince his sister to join Harald in the West. In one scene after Konrads sister has been arrested for an act of protest his father is refused entry to the courtroom where the trial is taking place. To this he remarks that he was let into a family related trial " Even during the Nazi days ." This symbolizes the way the DDR government is represented throughout the film.
Though Sophie and Konrad's is of course the main relationship examined in the film it is not the only one. Konrad's sister and Harald are also examined almost completely within the context of the DDR. They are both staunchly in opposition to the divide but promise each other that they will stay together in the DDR and attempt to subvert the system they so despise from the inside and not choose the "easy" way out by fleeing to the west. For one Harald and Konrad's family are working class and in stark contrast to the middle-class Sophie and thus could possibly not make a transition to the west. This is starkly highlighted towards the end of the film when Harald has been "forced" to the west. We see Harald arrive in a train station where he only sees homeless people drinking, a man threateningly asking for money only to dismiss what he receives as "bloody eastern money" and general urban decay.