Kay Madsen

The film follows the career of detective inspector Marianne Atzeroth-Freier through the Hamburg police force of the 80s and 90s. At the end of the 70s, Marianne is 30 years old and a single parent; she becomes one of Hamburg's first female police officers. Marianne is one of the first women ever to be promoted to the Hamburg homicide squad. The opposing forces in this male-dominated world are strong, she is not really taken seriously and is even bullied along the way, until she comes to the attention of the furrier Lutz R.. Against the considerable resistance of her superior, Marianne investigates in her spare time and makes a significant contribution to solving the case of the "acid barrel murderer".

A Marine veteran working as a school janitor tries to mend his relationship with his son after a divorce. When his son is killed by a police officer found innocent without standing trial, he takes matters into his own hands.

In 1950's Texas, Mexican American children were forced to abandon their Spanish language and culture. Thirty years later, one mother realizes the impact Americanization has on her child who is struggling to connect with her Latin heritage.

In 1950's Texas, Mexican American children were forced to abandon their Spanish language and culture. Thirty years later, one mother realizes the impact Americanization has on her child who is struggling to connect with her Latin heritage.

At the dinner table sits a white family: the father (a police officer), a mother and their two sons—a teenager and his younger brother. The teenager has an African-American friend, J.B., whom he wants to hang out with, but his father doesn’t want him leaving the house to meet up with J.B.—and especially not at night. “I want to keep you from bad situations,” the father explains to his son—an eerie foretelling, but more important, indicative of the violence that this white man associates with all black boys, even J.B., a black boy he knows personally and considers to be “a good kid.”

At the dinner table sits a white family: the father (a police officer), a mother and their two sons—a teenager and his younger brother. The teenager has an African-American friend, J.B., whom he wants to hang out with, but his father doesn’t want him leaving the house to meet up with J.B.—and especially not at night. “I want to keep you from bad situations,” the father explains to his son—an eerie foretelling, but more important, indicative of the violence that this white man associates with all black boys, even J.B., a black boy he knows personally and considers to be “a good kid.”

En Hamburgo, crecieron juntos y se hicieron amigos: Gabriel es turco, Bobby, serbio y Costa es griego. Durante un tiempo formaron una pandilla de pequeños delincuentes. Sin embargo, cuando Gabriel fue encarcelado, decidió cambiar de vida y, al salir, empezó a trabajar en la empresa de su hermano. Bobby, en cambio, se relaciona con la mafia albanesa, y Costa continúa robando coches. El sueño de Gabriel es abrir una cafetería, idea que apoya Alice, la novia de Bobby. Los problemas surgen cuando ésta le pide a Bobby que se aleje de los bajos fondos; Gabriel, que también intenta persuadirlo, lo único que consigue es recibir una brutal paliza. Sin embargo, inesperadamente, la situación dará un vuelco.