Frida Lovisa Hamann

After Sophie and Jessica had witnessed a brutal crime when they were kids, Jessica promised her younger sister Sophie: "I will always protect you!" Growing older, this promise became an obsession. Now, Jessica (28) is suffering from paranoia and sees threats to her and her sister everywhere. But Sophie (26) wants to live a normal life without fear, without her sister. She wants to become a pianist and wants to fall in love. When the perpetrators are released of prison after 20 years, Jessica is shocked and wants to confront them. But an accident changes everything. Jessica's promise to always protect her little sister turns into an existential nightmare.

In a German village near war's end, women struggle to maintain normalcy as corpses appear along the river. When ordered to leave no Germans alive for arriving Russians, villagers face brutal choices about survival and humanity.

When 22-year-old Rainer Werner Fassbinder storms the stage of a small, progressive theatre in Munich 1967, and seizes the production without further ado, nobody suspects this brazen young rebel to become one of the most important post-war German filmmakers. Despite early setbacks, many of his films breakout at the most renowned films festivals and polarise audience, critics and filmmakers alike. His radical views and self-exploitation, as well as his longing for love, have made him one of the most fascinating film directors of this time.

Endres wants to be more than just a farmer's son. He wants to be able to read and write, wear clothes without holes and sleep in a proper bed. He goes to the court of the King, who is said to be the cleverest man in the land. Endres becomes his personal servant and every day after dinner brings him a mysterious golden bowl. No-one knows what the bowl contains, not even Princess Leonora. When the queen's ring goes missing, suspicion falls on Endres.

Director Gregor Samsa, washed-up and in his late fifties, is reviewing his life. Having wasted it as a cultural worker doesn't exactly add to his joy.

Director Gregor Samsa, washed-up and in his late fifties, is reviewing his life. Having wasted it as a cultural worker doesn't exactly add to his joy.

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