Kai Wessel
After four years in prison for the manslaughter of her father, Sara Manzer wants to look ahead. She has support for her new life, which she gets primarily from her friend Marlene, who takes her into her apartment. Sara, who has turned from a party girl into a reserved woman as a result of her imprisonment, wants to shake off memories and reorient herself. But then the police are at her door again. A former colleague was stabbed and old files of her case were found on him. She reluctantly admits that she spoke to Benno Rose before his death. He had new insights into her old case that should relieve her. Sara insists she had nothing to do with Rose's death. But this statement cannot prevent the Freiburg commissioners Franziska Tobler and Friedemann Berg from doing further investigations in this case.
The accident during an air show in Ramstein in the summer of 1988 is one of the greatest tragedies in German post-war history. Against the backdrop of the momentous collision of two aerobatic planes on "Open Day" at the American air base, this film tells the story of four families in fictionalized form - they are visitors to the air show who lost their loved ones in the horrific inferno, and an emergency doctor who cannot forget the sight of the dead and injured. They all suffer from post-traumatic stress syndrome. Years after the disaster, they finally have the opportunity to share their experiences and come to terms with the trauma in a specially founded aftercare group. Meanwhile, a duo of investigators commissioned by the German Federal Ministry investigates the background to the air accident and uncovers massive failures in safety precautions and rescue measures. Beyond political responsibility on both the German and American sides, both come up against a wall of silence.
Ten years ago, Isa, the daughter of the Gems brewery dynasty, disappeared. Now she suddenly reappears - but without memories.
A Roma boy is placed in a mental hospital and experiences the Nazi euthanasia program. Aware of what was happening and attached to friends, the lad attempts to sabotage the program. The film addresses the complexities of the program director, the lives of the child victims, and the struggles of the child protagonist. More than five thousand children died in the Nazi euthanasia program.
In the castle park of Ludwigslust lies a dead woman. Investigators encounter a wall of silence. Everyone knew the dead "Lulu", many have a motive, everyone is afraid. But from what? Sophia Eichstätt, analyst at the LKA Kiel, investigates in the case, which assumes ever larger dimensions. Who is the perpetrator, who is the victim? Sophia gets caught between the fronts and has to decide which side she's on. It is dangerous on both sides.
In 1944 many Germans in Eastern Prussia believed like Lena von Mahlenberg, daughter of a local aristocrat, that Hitler would surrender and spare them from being invaded by the vengeful Russian Red Army. He didn't and they had to flee.
31 year-old Tristan remembers the time when he was 15 and had just hit puberty. But he is not alone in this, he is with a large group of friends: Specki, a fat kid who is always stuffing himself, Streusel, a cheeky boy covered with spots, Tümai, a pretty Turkish girl, Kerstin, best friend of Tümai and very sporty, Elrond, with a heavy stutter, but regardless extremely popular and good looking, Lars and Simone, so far the only couple in the class who spend most of their time smooching and Long Jana, a girl who is at least 6 foot tall and extremely skinny.
"Are you crazy?" "Nope, Down syndrome." Jakob knows his problem and can live well with it. His older brother Julian, however, he does not care about the Mongo. Even after the death of her mother Anna, does not think Julian cares about his younger brother. It's the other way around: Jacob helps him overcome the grief over Anna's death.
Klemperer – Ein Leben in Deutschland is a German television series.
Polizeiruf 110 is a long-running German language detective television series. The first episode was broadcast 27 June 1971 in the German Democratic Republic, and after the dissolution of Fernsehen der DDR the series was picked up by ARD. It was originally created as a counterpart to the West German series Tatort, and quickly became a public favorite. In contrast with other television crime series, in which killings are practically the primary focus, while Tatort handled homicide cases, the cases handled in the GDR TV's Polizeiruf were more often the more frequent, and less serious, crimes such as domestic violence, extortion, fraud, theft and juvenile delinquency, as well as alcoholism, child abuse and rape. Contrary to Tatort, which concentrated on the primary characters and their private lives, police procedure was the center of attention of Polizeiruf, especially in the earlier episodes. The scriptwriters attached particular importance to representation of the criminal and his state of mind, as well as the context of the crime. Many episodes aimed to teach and enlighten the audience about what does and what doesn't constitute appropriate behaviour and appropriate thought, rather than just to entertain. Polizeiruf was one of the few broadcasts by GDR media in which the real problems and difficulties of the supposedly more advanced socialist society could be displayed and discussed to some extent, albeit in a fictionalized and pedagogicalized environment.
