Thilo Prothmann

Director Gregor Samsa, washed-up and in his late fifties, is reviewing his life. Having wasted it as a cultural worker doesn't exactly add to his joy.

Young forester Jana Doussière takes up a short-term position at the Grunewald forestry office. Coming from a wild forest in the Vosges, the solitude-loving Jana, who tends to struggle with people, encounters the big city forest and its "Berlin peculiarities". In addition to naked men, demonstrating wild boar fans and committed conservationists, the new forest warden is also confronted with sofas in trees, a mysterious city hunter and forest warden Robin, who hasn't exactly been waiting for her. And even her best friend Aylin, who brought her here, doesn't seem to have told her everything about the new job...

In order to finally get that long-awaited promotion, Heinz Hellmich, an old white man, has to show his "wokest" side at work. When he invites his superiors to a private dinner at his home, his family's politically correct façade quickly begins to crumble and the evening takes a hair-raising turn.

No plot available for this movie.

During the night, patrol officer Ida Sörensen hears urgent cries for help coming from the church tower. Together with her young colleague Emma, the policewoman arrives at Ribe Cathedral. There, high up in the tower, a man is threatening a young woman with a knife. Ida and Emma draw their weapons when the mighty bell suddenly rings loudly. In the heat of the moment, Emma shoots the attacker, Finn Eriksson, causing the victim, Bente Bruun, to fall to her death. For Inspector Frieda Olsen, the case is closed before it has even begun. However, Ida soon begins to doubt the explanation that it was a foiled rape attempt. Ida soon discovers that Bente, a young investigative journalist, had been feeling threatened for days. While Ida and her colleague Magnus search for a notebook hidden by Bente, the dubious Konrad Gram and his assistant Viggo try to get to it first. Without realizing it, Ida puts herself in danger.

Germany, late 90s: Johanna is an intern at a local newspaper and is struggling with the death of her grandmother. In addition to her grief, she is burdened by conflict with her family after she angrily confronts her uncle, who is only interested in his inheritance, at the funeral. She seeks balance by throwing herself headlong into her work. In the process, she comes across an old photograph of a concentration camp guard named Anneliese Deckert. With this find, she hopes to advance her journalistic career: Johanna tracks down the now 80-year-old, but does not expect to meet her entire family on the spot, nor does she expect the fuss the photo causes.

No plot available for this movie.

A group of actors are rehearsing an historic escape from Germany of 1939: The Cruise Liner St. Louis is on its way to Cuba, 900 Jewish refugees on board. Cuba denies access. On board: Paul, Elsa and their son. Do they have to return to Germany again and probably die? A group of today refugees from Africa, fleeing from war and death in Syria, enter the theatre. They are supposed to work here as extras. A culture clash begins and becomes a crossover story between escape 79 years ago and today.

What a curious plan of Lya. Putting sleeping pills in the morning tea of her father. Pulling the sleeping wheelchair user to the vegetable store of her brother and attending secretly the acting exam. And all this only because Lya thinks that eight years of caring for her father where enough tribute to the family.

When 22-year-old Rainer Werner Fassbinder storms the stage of a small, progressive theatre in Munich 1967, and seizes the production without further ado, nobody suspects this brazen young rebel to become one of the most important post-war German filmmakers. Despite early setbacks, many of his films breakout at the most renowned films festivals and polarise audience, critics and filmmakers alike. His radical views and self-exploitation, as well as his longing for love, have made him one of the most fascinating film directors of this time.