Christian Ehrich

The body of Christian Rommedahl, from Denmark, washes up on the Flensburg Fjord. The victim's friend and work colleague, Lasse Jørgensen, is the target of the new investigator duo Svenja Rasmussen and Antoine Haller. Another lead leads the inspector to the Flensburg liquor dealer Philipp Schaaf. There also seems to be a connection between him and the dead. Because photos of Schaaf's daughter Lisa are found on the dead person's cell phone, and Lasse also seems to be involved.

Andreas wants Kim, but Kim wants something more. She wants a penis. She doesn't want to talk about this with Andreas. And when their best friend, Anna, moves in, it all gets to be a bit much. But if two people feel lonely around each other, can they be less alone when there are three of them?

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.

무신경하고 충동적인 성격을 가진 건방진 젊은 여자는 사랑에 대한 갈망을 숨기고 있지만, 자신도 모르게 타인과의 관계를 계속 극단으로 몰아붙인다.

사랑하는 연인 바실리와 아들 알렉시를 키우며 행복한 나날을 보내던 넬리는 바실리가 모스크바에서 교통사고로 사망하면서 커다란 혼란을 겪게 된다. 3년 후, 넬리는 알렉시와 동독 국경을 넘어 서독으로 향한다. 정식 이주를 위해 수용소에서 심사를 받지만, 하나같이 이어지는 바실리에 대한 질문에 넬리는 점점 지쳐간다. 결국, 넬리는 자신에게 호감을 보이는 미국 심사관 존과 정사를 나누고 그를 닦달해 까맣게 몰랐던 사실을 알게 된다. 비밀경찰 정보원으로 활동하던 바실리가 마음을 바꾸고, 서독 비밀 정보국과 공모해서 교통사고와 사망을 위장한 채 어딘가에서 살고 있을 수도 있다는 것이다…

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.

문학가를 꿈꾸는 괴테(알렌산더 페링)는 법관 시험에 떨어지고, 아버지에 권유로 시골에서 변호사 견습을 받게 된다. 유능하고 엄격한 변호사 케스트너(모리츠 블라이브트로이)의 지휘에서 잠시 벗어나 친구 예루살렘과 함께 파티에 간 괴테는 우연히 만난 로테(미리엄 스테인)에게 마음을 빼앗긴다. 로테는 괴테의 문학적 재능을 한눈에 알아보고, 두 사람은 걷잡을 수 없는 사랑에 빠져든다. 그러나, 가족을 위해 케스트너와의 약혼을 약속한 로테는 괴테에게 이별을 고하고, 괴테는 그녀를 향한 마지막 편지를 적어내려가는데…

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.