Susanne Bredehöft

A crew from the U.S. intends to film a war drama at an abandoned sugar factory on the remote outskirts of a German city, making the nearby town, which had been a pool of stagnant water, seem to come to life. The residents are excited, each making their own little plans, until a tank pulls up in front of the mayor's house and a sudden power outage disrupts all plans.

During a storm, Monique and Heiko find an uninvited guest on their allotment plot. The strange stranger has wings on his back and it almost seems as if he has fallen from the sky. Heiko falls under its spell and Monique has a thought: don't we all want to believe in a miracle?

Far away from the big city, Janine is unwelcome, yet an eye-catcher: a sensual, queer subject of projection with wine-red hair. Jan Eilhardt travels with her to engage with his own rural past, opening old wounds and infiltrating a hostile milieu.

Another murder takes place in tranquil Klein-Freudenstadt. And Angela Merkel is in the middle of it again.

No plot available for this movie.

Because the German state has failed, a large number of people are living in the forest, outside of society.

Former German Chancellor Angela Merkel is retired and lives with her husband and pug in a small town. She is bored with the quiet life. When a man is found murdered in a castle, she begins to investigate on her own, supported by her bodyguard.

The shy Hugo is a caretaker in a prefabricated building. He feels at home here, is appreciated by the residents and sings his songs in the corridors. Dramatic changes make Hugo uncomfortable in his home. Similarly dissatisfied is Johanna, who lives in a bus in front of the house and faces racism and sexism on a daily basis. The two grow closer - sharing a sense of not quite belonging and, above all, a love of music. For Hugo, the world is visibly coming apart at the seams: birds that reject freedom, a dollhouse that develops a life of its own - At the same time, a catastrophe is brewing in very real life that puts Hugo and Johanna's friendship to the test.

Contemporary cinema’s preeminent chronicler of architecture and its intersection with the ever-present crisis of 20th-century modernity, Heinz Emigholz returns with an alternately mournful and sly treatise on how the presence—and, in some cases, absence—of municipal and communal building architecture is inseparable from capitalist ideology. Focusing mainly on cities and provinces in Argentina, Germany, and Bolivia, Emigholz’s latest film is a work of quiet observation and historical excavation. From slaughterhouses in Salamone to the flooded former spa city of Epecuén to the newly built Humboldt Forum in Berlin, the film demonstrates the effect of capital on public spaces, where creation and destruction go hand in hand, and as always, Emigholz makes the journey one of intellectual force and cinematic beauty.

The existential quest of a young woman, Flippa, within the eternal “heterosexual knot”. In search of her sister Furia, she finds her in Sardinia in a community of mother witches.