Amelie Kiefer

Young Berlin schoolteacher Charlie no longer wants to continue as usual on her chosen path and asks herself what she really wants and needs.

Hannah and Julian have separated and meet for a last time to empty out their shared apartment. But nothing goes as planned, and their last night together becomes a turbulent roller-coaster ride.

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.

Young Danny has left his home town in the middle of nowhere (="Nirgendwo") behind and moved to Berlin to study business. The twentysomething enjoys big city life and independence. When his father dies unexpectedly, however, Danny has to return to the Bavarian hinterlands for better or worse. He reunites with friends from his youth, Kirsten, Rob and Fresi, and the eternal couple of Tom and Mischa. Moreover, Danny's feelings for his first love Susu are rekindled. Everything seems like it used to be. It soon turns out, however, that Danny's friends are all still searching and have not found their places in life yet.

The turbulent relationship between Oskar and Alex ends in a big blaze, Alex has set fire in Oskar's apartment. So Oskar decides that everything shall be different with the next one and he makes a deal with fun-loving Masha: sleeping together but no making love. They both drift through Berlin and through their lives, sometimes playful, sometimes obsessively. And even Masha has her issues. While trying to build up a "normal" relationship, both Masha and Oskar reach their limits. - Written by Claudia Romdhane

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.

Inherently political, the three films that constitute Muster (Rushes) (2012) visually link to one another, with each roughly half-hour narrative (79 minutes combined for the single-channel version) taking place at a former Benedictine monastery outside of Kassel, Germany. This monastery functioned as a concentration camp during the Nazi era, a reformatory for girls in the 1970s, and later a psychiatric clinic.

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.

Die Heldin in „Die Hebamme – Auf Leben und Tod“ ist eine Reisende zwischen den Welten und den Zeiten. Zwischen den Autoritäten anno 1813, der Kirche und der Wissenschaft, bleibt Rosa Koelbl eine Fremde. Die Zeit ist noch nicht reif für die Werte, die diese Frau verkörpert. (Quelle: http://www.tittelbach.tv/programm/fernsehfilm/artikel-1422.html)

A bride's biggest fears regarding her wedding materialize in a bizarre nightmare.

独裁政治を学ぶ体験授業をきっかけに洗脳されていく高校生たちの姿を描き、ドイツで大ヒットを記録した心理スリラー。アメリカで起こった実話をドイツの高校に置き換え、『エリート養成機関 ナポラ』のデニス・ガンゼルがメガホンを取った。主演には『エーミールと探偵たち』などに出演するドイツの俳優ユルゲン・フォーゲル。単純な興味や好奇心、ゲーム感覚から、あっという間に集団狂気に変化していく様子は、実話ならではのリアルさを帯び、身の毛もよだつほどのラストも衝撃的だ。