Alexander Hörbe
In the middle of untouched nature, surrounded by forests and grain fields of the Brandenburg province, the fictional village of Unterleuten with only 250 inhabitants is located. Thirty years after the fall of the Berlin Wall it seems a peaceful place for both locals and newcomers. But the appearance of rural idyll in eastern Germany is deceptive. There are turnaround winners and turnaround losers, friends and enemies, neighbors eyeing each other with suspicion, gossip, old secrets and hidden conflicts. When the mayor puts forward the proposal to have a company build a wind farm with dozen of wind turbines in order to secure the prosperity and future of the locals, the open fight for the only possible piece of land begins, which unfortunately belongs to three different owners. Everyone sees big money for themselves. Alliances are formed and friends become enemies. In addition, an unscrupulous vulture capitalism investor from southern Germany interferes that causes the glass to overflow.
The real life story of East German singer and writer Gerhard Gundermann and his struggles with music, life as a coal miner and his dealings with the secret police (STASI) of the GDR.
One house, three apartments and three friendly couples, who have to put their relationships and life concepts to the test. After 20 years of marriage, Anne and Martin are close to separation. Eva and Thomas are freshly in love and want to do everything right. The relationship between Saskia and Kai gets into a crisis when she returns to work and takes care of the daughter.
Germany, 1945. Soldier Willi Herold, a deserter of the German army, stumbles into a uniform of Nazi captain abandoned during the last and desperate weeks of the Third Reich. Newly emboldened by the allure of a suit that he has stolen only to stay warm, Willi discovers that many Germans will follow the leader, whoever he is.
Just before the fall of the Berlin Wall, the birthday celebrations of an East German family turn into a tragicomical moment of political and personal breakdown.
Despite being 45, Werner still likes putting on the style and enjoys being a womanizer, who usually ends up in bed with the female guests that stay at the hostel in which he temporarily works. But then, Werner has to learn to take on responsibility. When he was 18, he and his former girlfriend Tine, had a daughter called Julia, who is a mother herself now. Whenever she is in desperate need of a babysitter, she approaches Werner, who then grudgingly accepts. But Werner has discovered that this new "job" is a real godsend, as when he takes his granddaughter to the playground, he is a great hit with the ladies. He especially likes Kathie, who comes there with her little son Finn. Of course, he can't let her know that he is a granddad and so he says that he is Zora's father… and to Julia's surprise - but also joy - he wants to babysit Zora as often as possible.
The middle-aged family man Hans-Christian (HC) left by his wife goes to Ireland for a short break with his old friends Wolfgang and Nic. He should win at Guinness bonfires and fishing trips distance to the chaos at home. HC has to learn to say no and need other women, his friends believe, to get rid of his loser habitus. In the already tense situation, old competition fights, outbursts of anger and self-pity quickly come up. And Nic and Wolfgang seem to have needed the time-out almost as much as HC.
Based on the best-selling psychology book by Paul Watzlawick, the film tells the story of Tiffany Blechschmid, a neurotic, moony, superstitious, contradictory and, no surprises here, single young woman in her late-twenties.
Hanna and Simon are in a 20 year marriage with an unexiting relationship. By chance, they both meet and start separate affairs with Adam. Adam has no idea that his two lovers are married, until they are all found out when Hanna becomes pregnant, with the natural doubts stemming from their situation.
At the beginning of the weekend, the detective commissioner Tina Campenhausen wanted to spend with her family, she is called to a hotel in Travemünde. Guest Brederstein lies dead in the tub. Everything points to suicide. Tina Campenhausen knows the dead that she keeps secret from her colleague. Tina is caught up in her past when her sister, Jenny Hansen, whom she has not had any contact with for years, is at her door. Does Jenny have something to do with the death of the hotel guest? Tina gets into the biggest conflict of conscience of her life.
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.
Two couples driving through the night. As they hit a biker with their car, they have to make a decision.
Mark Demski (Jan Sosniok) discovers his girlfriend is cheating on him and thinks it has happened because of his small penis. Sad, he dumps the girl and promises himself never again to fall in love, but he fails. When he encounters Lara Singer (Doreen Jacobi) he must fight with his own fears.
