Daniel-Frantisek Kamen

Paul Baumer and his friends Albert and Muller, egged on by romantic dreams of heroism, voluntarily enlist in the German army. Full of excitement and patriotic fervour, the boys enthusiastically march into a war they believe in. But once on the Western Front, they discover the soul-destroying horror of World War I.

Gerta grows up in 1930s Brno in a mixed Czech-German family, which brings her into conflict with her father as he embraces Nazi ideology. Despite this, they remain connected through their shared love of music. During the occupation, Gerta joins the student resistance with her beloved Karel, but the war takes everything from her and leaves her with a dark secret that shapes her future. After the war, though innocent, Gerta is violently forced into the wild expulsion and must leave her hometown with her infant daughter. She survives the hardest years on a rural farm, reunites with Karel, and returns to Brno hoping for a normal life—yet the past continues to haunt her. The two-part TV film Gerta Schnirch offers a personal view of 20th-century history through the fate of a woman caught between two worlds.

After having a chance encounter with a mysterious character, Wendy, a young working class mother, discovers that she has super powers.

Franka is a punk—wild and loud—but her star is fading. Her younger sister Maya has retreated to their parents in the countryside and now lives somewhere between rubber boots, coffee on the sofa, and no desire for change. When Franka thinks she has seen their missing sister, Lilly, on the street one day, she feels compelled to at least try to “save” Maya. What follows is a chaotic road trip from Brandenburg to Berlin, a night full of arguments and laughter, old accusations, and new honesty. In the end, there is no solution, but maybe a new beginning. A raw snapshot of two women who are closer than they think.

Production of the Munich Opera Festival 2017. The plot of Carl Maria von Weber's romantic fairy opera, which premiered at London's Covent Garden in 1826, is quite astonishing: after the fairy king Oberon has fallen out with his wife Titania, it is humans of all people who are supposed to make things right. Titania will only be reconciled if a human couple proves the truthfulness of their love to the death. Oberon's servant Puck already has someone in mind: the crusader Hüon of Bordeaux, who loves the caliph's daughter Rezia.

Katharina, Ricky, Victoria and Malou live in an assisted living group. There they have built up an anarchic utopia as an alternative to everything they reject: Parents, school, rules. With social worker Ballack as a half-hearted guardian, things go well until their “live and let live” agreement starts to falter.

Everyone is addicted to Lulu. As a symbol of the seductress, she drags everyone around her into the abyss: the elderly Dr. Goll, the mediocre painter Schwarz, her foster father Dr. Schön and the lesbian Countess Geschwitz - all succumb to her beauty and pay with their lives.

No synopsis available yet.

Berlin pensioner Paul Krüger gets to know his place of birth in the Czech Republic.

The Queen wants her son, Prince Skyblue, to marry a Princess from a good family who is beautiful, rich and easy to handle... and definitely has no magic powers.

Somewhere in the middle of nowhere: after a wild party, seven people take part in a high-risk game. A well-known media mogul becomes their host, but then turns into a cynic. In the end, the seven people realize that the game only took part in their heads...

No synopsis available yet.

The story is set some time in the past, or maybe some time in the future. Given a time-frame, we would say somewhere between the American moonwalk, and Coca- Cola's serious ambition to turn the moon into an advertising logo. Our central character, the young lift operator, is formed by experience into cynicism, detachment, and apathy. The story builds to its crescendo: of public outrage and state crackdown; the banality of commercial interest and the monumental rape of nature. Set in a large newspaper office, the Lift is a place of relative safety. But floor by floor, with each passenger in his or her tableau, the atmosphere of mayhem seeps in. Finally our young character leaves the situation, far-gone in hopelessness and disinterest.