Maryam Zaree
At first glance, Leyla and Tristan are a happy couple. When they travel to a mysterious island, a game of identities begins that changes everything – their perception, their sexuality, their entire selves. But not only their relationship threatens to break up. They may even never be who they used to be again …
Felix Armand wants to be at the top. Because once he's there, he can finally be a decent human being. After all, he's the damn mastermind behind the most successful FinTech company of all time, and all of Germany: the CableCash AG. Unfortunately, everything is already blowing up in Felix's face during the IPO: Money laundering, investor deception, internet pornography. As a medium-sized company, you certainly don't get applauded for using such methods by the German public.
On her wild quest for love, 9-year-old Benni's untamed energy drives everyone around her to despair.
Phoebe Phaidon works as a climatologist at an institute of cybernetics which is about to be shut down. So there has to be a solution in the form of a successful evaluation. The strategy consultants now work against the student movement in a virtual reality. Turmoils start.
Maryam Zaree was born in one of Iran’s most notorious political prisons. In her documental debut, she embarks on a personal search for clues: in an effort to break the silence, she talks with her parents about the violent circumstances surrounding her birth. And she asks other children born in Evin about their experiences and the traumatic consequences. Maryam Zaree’s cinematic approach unfolds through her own biography, but beyond this it alerts us to the horrors of persecution and dehumanisation in Iran and the rest of the world.
Martha, Yasmin, Jamie and Sam live in a shared apartment in Kreuzberg. Martha is from France, Yasmin from Germany, Jamie from the U.S. and Sam from Cameroon. They sit in their kitchen, cook for each other, dance together. But compared to his flatmates, Sam left his country, because he needed to take refuge. The camera subtly catches the inequity that evolves between the four characters. Club Europe is a film about millennials who want to act more supportive and altruistic than their parents and need to face thw question how far they really want to go in order to help.
In the desolate Icelandic highlands, two lowbrow lovers lose their ride, a suited suicide his trigger finger, and a nuclear family their center. Losing their way and their reasons, they fall apart while coming together. A drama rich in comedy, arid plains, and empty stomachs.
Kishori, unmarried and mother to a daughter, and her sister Sonal live in a house in Berlin. The house and a cafe on the ground floor are led by Kishori. All of a sudden, her strict and traditional grandmother comes for a visit from India. She wants to sell the house unless Kishori agrees to marry the father of her daughter, Robert. As Kishori feels obliged to all the befriended inhabitants of the house, including Robert, to keep the house, Kishori und Robert prepare to have a traditional Indian wedding.
A handful of migrants without papers decide to start a hunger strike. Day by day, overcoming the violence that they inflict upon themselves, they discover the greatness of their true cause. From this realisation they learn to affirm their common humanity.
Four men’s destinies slam into each other and intertwine on four balmy summer nights. Old wounds are reopened, new ones appear, unexpectedly there is a new closeness. And, when the sun rises over the city and the striking garbage men, finally ensure German order again, nothing is the same for these four men.
Nihat, an introverted employee in a hospital cafeteria, is confused by Ayşe, a mysterious woman who just started working there as a dishwasher. Her obvious seductive approaches embarrass Nihat and make him nervous at the same time. Despite the rumors about her husband having been sentenced to many years in jail, Nihat reluctantly accepts Ayşe’s invitation to dinner at her house. This is the beginning of a strange and dangerous liaison. When Nihat discovers a picture of the woman’s husband and realizes that he looks astoundingly like him, the relation becomes even more toxic.
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.
Cengiz and Savaş are two unlike brothers. Cengiz is an associate in a respected law firm and Savaş is serving a prison sentence because of several violent offences. After their father’s death Cengiz gets his brother out for one day. Savaş doesn’t know that his brother is heavily in debt.
Eleven young people live in a city. It is midsummer. This is the starting point of the escalation of seemingly harmonious relationships. A postmodern urban fairy tale about loneliness of dependency. About the question of what is greater, freedom or love.
