Caroline Peters

Anna and Thomas want to get married in the South Tyrolean Alps. However, Stephan's daughter Antigone and the family clan bring so much chaos to the planned idyll that it's not just the wedding that is on the rocks.

Marie Theres is a perfectly assimilated German in Vienna. She is a good wife to her husband Alexander, an understanding mother to her teenage daughter and a successful and respected doctor, who cares deeply about her patients. One day her perfect life falls apart: her husband leaves, her daughter rebels, she makes mistakes at the hospital and her friends abandon her. Then she meets Fa, a self-confident Iranian woman. The two fall in love with each other and Marie Theres starts to learn to put her own needs and wants first.

The Viennese cab driver Maggy has all kinds of problems, not least monetary ones. But suddenly Maggy's financial problems could solve all by themselves when Juliette Koons, who has been reported missing, gets into her cab with a heavy suitcase.

There's Greta, a loud, impulsive, and erratic school secretary who's a notorious liar. And there's Alexander, a butcher, music lover, and closet intellectual who's going broke. At a bus stop, she kisses him on the neck, just like that. Is it a mix-up? Or part of a plan? Either way, it's only the beginning of a surprising love story.

Christmas – usually not the favourite holiday of the atheist Wanda, a surgeon and feminist mother of teenage Nina. And most certainly not in times of a pandemic.

No plot available for this movie.

The Berger and Böttcher families come to Dorothea's finca on Lanzarote for a weekend trip. The mood is tense and escalates as various mysteries are revealed.

Murder of 18-year-old brings two investigators together for the first time. A piece of evidence leads to a missing person case four years ago. Investigations were led by Irene Gaup, with old and new questions arising.

No plot available for this movie.

Amina Handke adapts the 1967 theatre play Kaspar written by her father Peter Handke. Instead of a young man being tortured by language, we meet an old woman played by the director’s mother, Libgart Schwarz, who loses her linguistic abilities while rehearsing for the very same play. What begins as a pure and playful family meta-fiction turns into a surreal, partly nonsensical Babylonian confusion, it’s just that it’s not different languages that are clashing but layers and fragments of the German language, the language of the father. The film avoids the traps of representational cinema. It’s all noises and muttering, injunctions and an almost Dadaist pleasure in repeating sentences until they completely lose their meaning.