Dietrich Brüggemann

Isn’t the trajectory of a shared life determined in advance? Get married, have kids, be like everyone else… According to Dietrich Brüggemann, who competed in Vary six years ago, 30-somethings conceivably have it all, yet they fail in their attempts to achieve their set ideals. Nö delivers a critique of contemporary values, while also highlighting the struggle to find and nurture love.

Isn’t the trajectory of a shared life determined in advance? Get married, have kids, be like everyone else… According to Dietrich Brüggemann, who competed in Vary six years ago, 30-somethings conceivably have it all, yet they fail in their attempts to achieve their set ideals. Nö delivers a critique of contemporary values, while also highlighting the struggle to find and nurture love.

Isn’t the trajectory of a shared life determined in advance? Get married, have kids, be like everyone else… According to Dietrich Brüggemann, who competed in Vary six years ago, 30-somethings conceivably have it all, yet they fail in their attempts to achieve their set ideals. Nö delivers a critique of contemporary values, while also highlighting the struggle to find and nurture love.

15 directors explore the question of whether the cinema is dying out as a location, an art form, and language.

Ferdi thinks he's ugly – but likes the fact Jona is interested in him. Maybe because she's blind. What Ferdi doesn't suspect: She's just pretending to be blind to be able to live cheaply in subsidized housing. How long can she maintain her charade? Can love, which is supposed to make you blind, even work out that way? Director Tom Lass takes a closer look, shooting with blind actors and old Berlin buddies, acting the lead himself – paying tribute to a way of life beyond our way of seeing the world.

Helen Brindel is trapped in a violent marriage and the prison of her faith when she falls in love with a scholar, Professor Eduard Gluck. But he’s a secret porn addict. Slowly, carefully, two very different individuals get to know each other.

Tobias and Flasche are childhood friends. However, their alcoholic friendship is doing more harm than good to Tobias, who realizes he should focus on his family and career. Everything changes when Tobias tells this to Flasche.

A surreal trip into the world of an extremely long german word.

An African-German Author loses his memory and is used by a modern National Socialist Party as promotion-figure for more political power over Germany.

An African-German Author loses his memory and is used by a modern National Socialist Party as promotion-figure for more political power over Germany.

An African-German Author loses his memory and is used by a modern National Socialist Party as promotion-figure for more political power over Germany.

An African-German Author loses his memory and is used by a modern National Socialist Party as promotion-figure for more political power over Germany.

Maria se encuentra atrapada entre dos mundos. En el colegio, esta chica de 14 años tiene los típicos intereses de una adolescente, pero cuando está en su casa debe seguir los dictados de la Sociedad de San Pío XII y su tradicional interpretación del catolicismo. Todo lo que Maria piensa y hace debe ser examinado ante Dios.

Maria se encuentra atrapada entre dos mundos. En el colegio, esta chica de 14 años tiene los típicos intereses de una adolescente, pero cuando está en su casa debe seguir los dictados de la Sociedad de San Pío XII y su tradicional interpretación del catolicismo. Todo lo que Maria piensa y hace debe ser examinado ante Dios.

Eleven moving dates, eight friends: Philipp, Wiebke, Jessica, Maria, Swantje, Michael, Thomas, Dina – all in their twenties and mutually lonesome. And always searching: For a new city, a new job, an own apartment, a new, or even an old love. The search is never-ending, and so they repeatedly find themselves at a ritual gathering: someone moving. Boxes are shifted from one side of Berlin to the other, or the length and breadth of Germany, from one abode to the next as one life is exchanged for another. In 3 ZIMMER/KÜCHE/BAD, director Dietrich Brüggemann portrays existences in which relationships, social networks and backdrops are in a constant state of flux; where best friends are the only, and therefore the most valuable constant. Humorous sketches of the self-conception of a generation for whom moving has become the symbol of a life on the go.

Eleven moving dates, eight friends: Philipp, Wiebke, Jessica, Maria, Swantje, Michael, Thomas, Dina – all in their twenties and mutually lonesome. And always searching: For a new city, a new job, an own apartment, a new, or even an old love. The search is never-ending, and so they repeatedly find themselves at a ritual gathering: someone moving. Boxes are shifted from one side of Berlin to the other, or the length and breadth of Germany, from one abode to the next as one life is exchanged for another. In 3 ZIMMER/KÜCHE/BAD, director Dietrich Brüggemann portrays existences in which relationships, social networks and backdrops are in a constant state of flux; where best friends are the only, and therefore the most valuable constant. Humorous sketches of the self-conception of a generation for whom moving has become the symbol of a life on the go.

Eleven moving dates, eight friends: Philipp, Wiebke, Jessica, Maria, Swantje, Michael, Thomas, Dina – all in their twenties and mutually lonesome. And always searching: For a new city, a new job, an own apartment, a new, or even an old love. The search is never-ending, and so they repeatedly find themselves at a ritual gathering: someone moving. Boxes are shifted from one side of Berlin to the other, or the length and breadth of Germany, from one abode to the next as one life is exchanged for another. In 3 ZIMMER/KÜCHE/BAD, director Dietrich Brüggemann portrays existences in which relationships, social networks and backdrops are in a constant state of flux; where best friends are the only, and therefore the most valuable constant. Humorous sketches of the self-conception of a generation for whom moving has become the symbol of a life on the go.

Sarah (Muriel Wimmer) es una chica de 13 años que junto a su mejor amiga Charlie (Antonia Putiloff) de 16 tienen a sus espaldas una larga lista de conquistas. Lukas es un chico mayor de edad al que Sarah conoce por el chat y por el que por primera vez en su vida sentirá amor verdadero hacia una persona. Pero Lukas quizás no está tan interesado como ella cree. Por su parte, Charly irá en la búsqueda de su padre al que no conoce desde pequeña.Tres días en la vida de un grupo de adolescentes que intentan encontrar su lugar en la vida a través del sexo y las emociones.

A queer trans-ethnic movie kiss leads to considerable turmoil.

A queer trans-ethnic movie kiss leads to considerable turmoil.

An independent tragicomedy, Run If You Can is the debut feature for director Brüggemann who, along with his sister, also wrote the compelling screenplay. Forced to spend the rest of his life in a wheelchair, Ben is deeply desperate, despite his humor and vivaciousness. When he meets Christian, his new assistant, Ben treats him like every other helper he’s had. Things suddenly change when Christian meets Annika, “the cello player” whom Ben has been observing from his window for years. The three become close friends, putting Annika in the middle of an emotional, and somehow dangerous, ménage à trois. While conquering Annika is nothing very serious for career-focused Christian, Ben’s love for Annika reminds him of his past and forces him to face his most remote fears. A character-driven story, Run If You Can owes much of its power to the actors’ performances, especially Robert Gwisdek’s outstanding interpretation of Ben.

An independent tragicomedy, Run If You Can is the debut feature for director Brüggemann who, along with his sister, also wrote the compelling screenplay. Forced to spend the rest of his life in a wheelchair, Ben is deeply desperate, despite his humor and vivaciousness. When he meets Christian, his new assistant, Ben treats him like every other helper he’s had. Things suddenly change when Christian meets Annika, “the cello player” whom Ben has been observing from his window for years. The three become close friends, putting Annika in the middle of an emotional, and somehow dangerous, ménage à trois. While conquering Annika is nothing very serious for career-focused Christian, Ben’s love for Annika reminds him of his past and forces him to face his most remote fears. A character-driven story, Run If You Can owes much of its power to the actors’ performances, especially Robert Gwisdek’s outstanding interpretation of Ben.

An independent tragicomedy, Run If You Can is the debut feature for director Brüggemann who, along with his sister, also wrote the compelling screenplay. Forced to spend the rest of his life in a wheelchair, Ben is deeply desperate, despite his humor and vivaciousness. When he meets Christian, his new assistant, Ben treats him like every other helper he’s had. Things suddenly change when Christian meets Annika, “the cello player” whom Ben has been observing from his window for years. The three become close friends, putting Annika in the middle of an emotional, and somehow dangerous, ménage à trois. While conquering Annika is nothing very serious for career-focused Christian, Ben’s love for Annika reminds him of his past and forces him to face his most remote fears. A character-driven story, Run If You Can owes much of its power to the actors’ performances, especially Robert Gwisdek’s outstanding interpretation of Ben.

Narra la historia de Karl Koch, un hacker alemán conocido como Hagbard Celine, que en los años 80 vendió información al KGB en plena guerra fría. Sufría adicción por la cocaína y al que se le volaron los patos con el número 23 (tan recurrente en el cine y los paranoicos).En la historia se puede ver como el protagonista se relaciona con el Chaos Computer Club, el momento en el que decide escribir un troyano