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.

세상에 눈 감은 천재 작가 그리고 현실에 눈을 뜬 여자 사고로 아내와 시력을 잃은 베스트셀러 작가 ‘빌’ 그 이후 집필을 중단하고 더 까칠해진 그에게 만만치 않은 새 봉사자 ‘수잔’이 배정된다. 펜트하우스, 다이아몬드 반지, 상류층 파티 화려한 삶을 사는 ‘수잔’은 범죄에 연루되어 사회봉사를 선고받고 그곳에서 ‘빌’을 마주하게 된다. 고집 센 그에게 지지 않고 당차게 맞서는 그녀 서로에게 점차 다가가는 두 사람은 삶의 빛을 되찾기 시작하는데…

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.

엄격한 집안 속 순종적인 종교 생활을 이어가던 ‘마리아’. 어느 날 같은 수업을 듣는 밝은 성격의 '크리스찬'과 가까워지면서 그녀가 미처 알지 못했던 세상을 조금씩 알게 된다. 하지만 마리아는 무슨 이유에서인지 말문을 열지 않는 막냇동생을 돌봐야 하는 책임감과 하나씩 부풀어나는 욕심을 뿌리치며 다시금 신앙에 집중하며 마음을 다잡는다. 그렇게 그녀는 가족과 친구, 그리고 세상에서 멀어져만 가는 자신을 느끼며 외로운 싸움을 시작하게 되는데....

엄격한 집안 속 순종적인 종교 생활을 이어가던 ‘마리아’. 어느 날 같은 수업을 듣는 밝은 성격의 '크리스찬'과 가까워지면서 그녀가 미처 알지 못했던 세상을 조금씩 알게 된다. 하지만 마리아는 무슨 이유에서인지 말문을 열지 않는 막냇동생을 돌봐야 하는 책임감과 하나씩 부풀어나는 욕심을 뿌리치며 다시금 신앙에 집중하며 마음을 다잡는다. 그렇게 그녀는 가족과 친구, 그리고 세상에서 멀어져만 가는 자신을 느끼며 외로운 싸움을 시작하게 되는데....

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.

13살 소녀 사라의 성장기

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.

The movie's plot is based on the true story of a group of young computer hackers from Hannover, Germany. In the late 1980s the orphaned Karl Koch invests his heritage in a flat and a home computer. At first he dials up to bulletin boards to discuss conspiracy theories inspired by his favorite novel, R.A. Wilson's "Illuminatus", but soon he and his friend David start breaking into government and military computers. Pepe, one of Karl's rather criminal acquaintances senses that there is money in computer cracking - he travels to east Berlin and tries to contact the KGB.