Andreas Ruft

Tensions rise when a doctor (Daniel Veronese) pressures his teenage son to follow in his footsteps.

Jenny is young. Her life is over. She killed someone. And she would do it again. When an 80-year-old piano teacher discovers the girl’s secret, her brutality and her dreams, she decides to transform her pupil into the musical wunderkind she once was.

"A Napoleon from Hanover" tells the story about a modern Don Quixote: Wolfgang Krone. When Wolfgang Krone worked in a lorry factory, he produced a feature film about Napoleon's Russian War. For more than 20 years he has been yearning to be recognized as an artist.

A woman faces a variety of emotional crises as she spends the summer interacting in various ways with friends, family, and lovers.

In the last house just behind the western borders of Russia, between Paris/Texas and Korleput/Mecklenburg-Vorpommern, Cindy Sherman, Dogma 95 and Duma 2000, Frank Castorf directs his virst video production "Dämonen" ("Demons") as a sort of post-Soviet-panslavistic panopticon in his own dramaturgy based on Dostojewski's "Demons" and Camus' "The Posessed". All that in set designer Bert Neumann's industrial-designed bungalow (with swimming pool) built onto forbidding landscape.

Two women fought with uncompromising conviction to change the world in the late 1960s - Inge Viett as a former member of the RAF in Germany, Maria Barhoum as former member of the FAU in Uruguay. In 1999, they met in Cuba, a country that seemed to mirror many of their questions, hopes and fears. The film looks at their real lives and different roads to exile; two utopian visions sought under very different conditions on separate continents. It is a double portrait of two extraordinary women that succeeds in avoiding the twin pitfalls of condemnation and glorification.

Two women fought with uncompromising conviction to change the world in the late 1960s - Inge Viett as a former member of the RAF in Germany, Maria Barhoum as former member of the FAU in Uruguay. In 1999, they met in Cuba, a country that seemed to mirror many of their questions, hopes and fears. The film looks at their real lives and different roads to exile; two utopian visions sought under very different conditions on separate continents. It is a double portrait of two extraordinary women that succeeds in avoiding the twin pitfalls of condemnation and glorification.

Nine persons sign up for a self-awareness course at an isolated country estate. Dr. Romero, a charismatic therapist, and his assistants confront the patients with their problems. Cut off from the rest of the world, the participants are increasingly drawn into the therapy's spell.

Darkness and its possession evoke artistic "pre-images": primarily Expressionism and its "after-images". The story is told of a stroll through the (cinematic) night, of absurd and of dead theater.

This film begins with black women dancing and black men expressing their praise: They are praising Austria. For over ten years, the 'alpine republic' has been cooperating with the ten parched Cape Verde Islands in the Atlantic Ocean near the west coast of Africa. In total, seven completely different projects are presented and evaluated critically. In passing, the viewer also learns something about the country and its people: Young people curse the beautiful archipelago, calling it a hole, a prison, hell... They are unable to find work. The individual character of the Austrian projects enable the cinematic discussion of some basic concepts of development politics. This film takes a look, both affectionate and critical, at a distant and exotic country which comes closer to us the longer The Meeting of the Islands lasts.