Hendrik Heutmann
Although Maja and Thorsten have been divorced for two years, it is important to them to go on vacation with their sons once a year. The thought is good, the execution miserable.
Angela Merkel's decision in autumn 2015 to open the borders for refugees split the country - some praised the moral stance, others criticized the surrender of sovereignty. Yet what would appear to be well-planned activity is in reality a policy of muddling along, chance, trial and error. The Driven Ones is a chronicle of the refugee crisis which shows that the political actors are being driven along, crushed between self-imposed constraints and events that have spun out of control.
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.
In a fictitious world, a wall goes through a country and its city. Both sides face each other irreconcilably. The film tells the story of the 40 year old rocket scientist Paul who falls in love with a supposed woman. Who, like him, is not absorbed with the irreconcilable differences of both sides and do not want to decide for one side.
In Stockholm, Sweden, hacker Lisbeth Salander is hired by Frans Balder, a computer engineer, to retrieve a program that he believes it is too dangerous to exist.
Following the phenomenal success of “The Threepenny Opera”, the film industry wants to win over the celebrated author. But Bertolt Brecht is not prepared to play by their rules. His concept of the “Threepenny Film” is radical, uncompromising, political, and incisive.
