The draw for 1992 UEFA European Football Championship qualifying took place on 2 February 1990, with East Germany drawn in Group 5 along with Belgium, Wales, Luxembourg - and West Germany. By 23 August that year, the East German parliament confirmed reunification for 3 October. The planning for the opening fixture away to Belgium on 12 September was too far along to be cancelled, and so it was played as a friendly.  It was also planned to play East Germany's home fixture against West Germany, scheduled for 21 November 1990 in Leipzig , as a friendly to celebrate the unification of the DFB and DFV, but the game was cancelled due to rioting in East German stadia. 
It seems my comment is late, but I drop it anyway. The author doesn’t know subject very deep. I’m from East Germany and I can’t agree with following statements:
1. “a poor telecommunication system” – it’s ridiculous, because GDR had most advanced cinema studio DEFA. Its movies are quite popular even now.
2. “wretched cars” – have you ever tried to ride such car, or it’s just only your opinion, based on photos?
3. “labour ignorant of computers” – People, remember – we are talking about 90’s. In the whole world computers weren’t smart.
Compared to West Germany, East Germany was superior on several parameters, but this is not the subject of discussion. We seek difference between GDR and DPRK. Here I can formulate this difference, based on historical point of view: Border between DPRK and South Korea is totally artificial, while border between GDR and West Germany has been built up on old border existing 1000 years ago between slavic and saxon tribes. Remember this, when “West” media throw pieces of crap on socialist countries.
This is one of the least-known movies among the 12 originally banned films - a true rediscovery of a gem. The film by director Ralf Kirsten, which runs at nearly one hour, tells the story of the sculptor Ernst Barlach in 1937, immediately after the Nazis had banned his famous sculpture "The Angel" from the Cathedral of Güstrow. Barlach (played by Fred Düren) wanders through and around Güstrow, trying to determine how to position himself towards the Nazis. He reflects on the value of art in times of dictatorship. A resourceful viewer could obviously have transposed such questions to another authoritarian system as well.