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".

Um veterano da Marinha trabalha como zelador de uma escola, e tenta consertar seu relacionamento com o filho depois de um divórcio. Quando seu filho é morto por um policial considerado inocente sem julgamento, ele vai resolver o problema com suas próprias mãos.

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.”

Gabriel, Bobby e Costa são velhos amigos de um bairro multicultural em Hamburgo. Acabado de sair da prisão, Gabriel quer se afastar do crime, mas os outros ainda cometem pequenos delitos. Amizades são testadas à medida que exploram um mundo sombrio de chefes da máfia e negócios que deram errado.