Leopold von Verschuer

As a contestant in a singing casting show, Lea is asked by the TV team who she is and what makes her special. She doesn't know and begins to slip into different roles in her search for what makes her special, developing an unexpected fascination for her aunt Kati. Kati's return home as head architect for the renovation of the Residenzschloss after many years abroad reunites the family in one place. This reunion raises the hopes of grandparents Friedrich and Christel that they can join forces to give their pension, which has few visitors, a new lease of life.

When Edith Howland's husband abandons her for a younger woman, leaving her with their alcoholic son and his senile uncle, she begins recording details of an imaginary, much more successful life where she has friends and grandchildren. However, this diversion soon grows unhealthy when she becomes slowly convinced that the fantasies are real.

Two employees of the immigration office pay Mona an unannounced visit to check on the marital relationship between her and her husband Parviz - who is not to be found.

Ivo works as a palliative home-care nurse. Every day, she visits families, couples and single people. They live in small flats and large houses. They all have different lives and deaths. They all have different ways of dealing with the time that remains. At home, Ivo’s teenage daughter has long since become independent. From morning to night, Ivo drives around in her old Skoda which she has made into her personal living space. Here, she eats her meals, works, sings, swears and dreams. One of her patients, Solveigh, has become a close friend. Ivo has also formed a relationship with Solveigh’s husband, Franz. Day after day, the two work together to care for Solveigh. And they sleep with each other. Solveigh’s strength is diminishing and she soon has to rely on support for the simplest tasks. She wants the final decision to be her own: she wants Ivo to help her die.

Three dramatic stories from the everyday school life of adolescent pupils.

B for BARTLEBY is a documentary film essay about a very personal confrontation with this narrative: It becomes a re-encounter with a deceased companion, who wanted to film Bartleby all his life. Then a journey to the USA, to the farmhouse of Herman Melville. Here today's "classic" of American literature, conscripted the women of his family to "write off". We see performative experiments with women "learning" Bartleby and men practicing writing; we see everyday encounters with Bartleby in a cafeteria, a youth club, a center for the stranded. and a legendary offstage theater in New York. Goose quills scurry across blank pages, actresses memorize text that might be their own, costumed museum employees lead tours of "original showplaces," animals (beloved by Herman Melville above all else) glare at us. "Ah, Bartleby! Ah, humanity!" It's about the desire and curiosity to find out how to peacefully cope with a personal visitation.

A staging of Valère Novarina's play "L'Acte inconnu" by himself.

Freja lives in a youth detention center. Her little brother lives with a foster family. Her mother is gone. To reunite her family, Freja would do anything. She desperately wants to lead her loved ones out of the dark by taking them back home to the northern lights. But everybody has to let go someday.

Diziye konu olan olaylarda hep tanıdık temalar hakim. Almanya’da gündelik yaşamı etkileyen ya da geçmişte etkilemiş olan her konu, dizide ele alınıyor ya da alındı: Almanya’nın birleşmesi, terör, organ ticareti, küreselleşme, ırkçılık, uyuşturucu kullanımı, çevre skandalları, çocuk istismarı, işsizlik, sanayi suçları, yaşlı bakımıyla ilgili sorunlar, ya da eş bulma hizmetleri. Gerçek yaşamdakinden farklı olarak, toplumsal ayrılıklar “Tatort”ta her zaman çözülmese de, cinayetin faili her zaman bulunuyor ve pazar akşamı herkes yatağına huzur içinde gidiyor. Edebiyatbilimci Jochen Vogel’in sözleriyle “Tatort, Alman toplumunu anlatan bir roman.”

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.