Toby Ashraf

A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up.

Eleven moving dates, eight friends: Philipp, Wiebke, Jessica, Maria, Swantje, Michael, Thomas, Dina – all in their twenties and mutually lonesome. And always searching: For a new city, a new job, an own apartment, a new, or even an old love. The search is never-ending, and so they repeatedly find themselves at a ritual gathering: someone moving. Boxes are shifted from one side of Berlin to the other, or the length and breadth of Germany, from one abode to the next as one life is exchanged for another. In 3 ZIMMER/KÜCHE/BAD, director Dietrich Brüggemann portrays existences in which relationships, social networks and backdrops are in a constant state of flux; where best friends are the only, and therefore the most valuable constant. Humorous sketches of the self-conception of a generation for whom moving has become the symbol of a life on the go.

Kôichi is a Japanese man living alone in Berlin. He has no job and hardly any friends. One night Kôichi meets Ryota at a bar which is also a sex club. Ryota came to Berlin to visit a German guy whom he had "met" on a dating app. His high hopes for romance (and marriage?) were quickly crushed since the German was only interested in sex, not even letting Ryota stay for the night. That is why Ryota ended up spending the night in the dark room of the sex club. Kôichi for some reason lets Ryota stay at his apartment. They have sex. Ryota goes out almost everyday to get laid by various local men and comes home to Kôichi's. Increasingly caught up with a strange feeling that is akin to but not quite frustration or curiosity (needless to say, it is not even close to love), Kôichi gradually gives himself up to sex with Ryota.

Isn’t the trajectory of a shared life determined in advance? Get married, have kids, be like everyone else… According to Dietrich Brüggemann, who competed in Vary six years ago, 30-somethings conceivably have it all, yet they fail in their attempts to achieve their set ideals. Nö delivers a critique of contemporary values, while also highlighting the struggle to find and nurture love.

Lost love, lost artistic collaboration, the two are meeting for one night as she briefly visits the city where he still lives.

Simon, a young German doctor who lives and works in Marseille, goes missing. His appartment is empty. His mother Valérie is desperate. She doesn't understand the reason of his disappearance. Therefore she asks Jens, Simon's former boyfriend, to come to Marseille and help her find him.

Three women stage scenes for a philosophical film they are shooting.

It's a cold December night in Berlin. Once again, Hänsel and Gretel have lost their way. They stumble through the big city in search for warmth and company. An invitation to a night club ('Witch's night - couples welcome') looks like lucky turn...

For her first television film, director Vera wants the perfect cast. But the first day of shooting is fast approaching and the numerous casting sessions have yet to find a suitable actress to play the leading role. Although the producer and crew are getting ever more exasperated with Vera, Gerwin is happy about the extra work, as he earns his money as an audition reader, delivering the lines of dialogue to the starry candidates at the various castings. When the male lead suddenly has to back out, Gerwin thinks that this might just be his chance.

The story of the dog from the title, who in a frame narrative explains how he came to be transformed from an unemployed communist filmmaker into a canine with a philosophical bent. Unable to finance his new project, young Berlin-based director Julian tells foreign exchange student Camille that his job in the countryside is research for an upcoming film. When Camille offers to help, he is forced to uphold the lie. The plantation isn’t the proletarian idyll he had hoped for, but fortunately the reincarnation of Francis of Assisi provides spiritual insight and a new aim in life.

The latest episode continues to voyeuristically document what goes on in the minds and bedrooms of urban gays. In Berlin, Mathews lingers on the tension and circular nature between intimacy and loneliness by documenting a handful of Berliners -some single, some coupled, some hooking up- over the course of one day.

A modern story of an actress that is in a theatre. In a place designed for representation, for daily reenactments of human passions, the film is focusing on the cruel awakening of the actress to her true self. More precisely to an “ancient self”. The one most people edit out of their lives: the garbage self.