Pierre Sanoussi-Bliss

A woman despairs about the coming collapse of the world. How will it change? What kind of planet will she leave to her daughter? She imagines different scenarios, each more terrible than the last, and decides to do something. No matter how pointless it may seem to her.

Radio presenter Karla's biological clock is ticking, and it's now very loud and clear. But no matter what she does, she simply cannot find a suitable man with whom she could imagine a family.

Pierre Sanoussi-Bliss's two-minute submission to rbb.

Ama, Senta and Klara are sisters in their thirties and couldn't be more different. Ama studies medicine, Senta is a dedicated prostitute and Klara is more of a house maker, who desperately wants a child, even if it is from her abusive, lorry driver husband. Their parents, Rosa and Erich (who suffers from dementia) are tucked away in and old peoples home, which affords the girls some peace and quiet.

Rainer has a miserable life. He works as a pizza delivery guy in a small eastern german town. Unhappy with his situation and apparently short on money he's also struggeling with the dementia of his mother, who he cares for. Soon he can't take it anymore having anything accomplished in his life. With his mother in a home and a self-made bomb in the back of his delivery scooter he's heading north to Berlin. The road trip begins.

Berlin, Capital of Germany. The integration of East and West, multicultural society, departure, movement, creativity, active life, but also loneliness, solitude, and anonymity. Everyone yearns for togetherness, and each love is possible. 'At Second Glance' is a film about Kay and Falk, Benjamin and Elena, Till and Pan - three visually impaired couples in the big city juggernaut Berlin - who meet, discover, and feel attracted to each other.

When a salon refuses to hire her because of her plump figure, irrepressible hair stylist Kathi plots revenge by opening her own beauty parlor next door. But when she faces a cash-flow problem, Kathi resorts to some creative means of raising capital.

Shot with striking immediacy by a subjective camera, “Angst isst Seele auf” assumes the point of view of a black actor in Germany dealing with racist abuse as he prepares to appear in a play based on Fassbinder’s film, about the taboo relationship between an older German woman and an Arab man. Sharing the same lead actress (Brigitte Mira), cinematographer (Jürgen Jürges), and editor (Thea Eymèsz) as in Rainer Werner Fassbinder’s 1974 Film “Angst essen Seele auf”, these twin works offer a searing indictment of prejudice within German society.

After Sam, a penniless Afro-German singer, discovers he's HIV positive, he gets utterly drunk, spends a few miserable days, but promptly falls (back) in love. Amidst a crumbling former East Berlin (its bulidings, cars, people & culture), Sam develops a "family" for the new millenium, for the new generation of post-drug cocktail AIDS victims. The fragile "family" he forms includes his on-again-off-again boyfriend Rainer, and his best friend Bastl with his latest fling, Mike. Like the old, schmaltzy East German songs which Sam is recording, the sweet innocence of the characters struggle to prevail, the misfortunes of the characters nothwithstanding.

Nabou, an Afro-German slacker, desperatly wants to win back her club kid ex-girlfriend Katja. Nabou becomes a housekeeper for Katja's neighbor, Kim, who is a workaholic that is striving to become a partner in an advertising agency. A refreshing romantic comedy with the ingredients of a classic lesbian feature: whimsical sexiness, mistaken identity, and general madness and mayhem.