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Stella Goldschlag grows up in Berlin during the Nazi regime. She dreams of a career as a jazz singer, but is forced to go into hiding with her parents in 1944, and her life turns into an hopeless tragedy.

A family faces collapse as they deal with modern issues, searching for new beginnings in a troubled world.

The 70-year old Carl Kollhoff works in a little bookshop in a small town, where he wraps up books to deliver them by foot. One day the 9-year old girl Schascha joins him on his delivering-tours. She calls him the "Buchspazierer".

The cover model of an East German fashion magazine is tempted by a photographer she falls in love with, to flee to to the West.

High-society couple's marriage is tested when the husband discovers a secret erotic society and attends a masked ball, ignoring warnings of potential consequences, after his wife admits having fantasies about another man.

Vera Brandes, who, in 1975 and at the age of 18, staged the famous Köln Concert by jazz musician Keith Jarrett.

Explores the subjects of gentrification and social inequality in Berlin.

It follows Gregor Samsa, a washed-up director in his late fifties who is reviewing his life. Him having wasted it as a cultural worker doesn't exactly add to his joy.

Switzerland, 1942: Hoping to make a career as a singer in Germany, poor vagabond Ernst Schrämli sells Swiss military information to a Nazi spy. But then his offense is discovered.

Iconic model Justine gets entangled with the investigations of serial murders in the fashion scene, while her catwalk becomes a downward spiral of reality and illusion.

In a sleepy little town somewhere in North Rhine-Westphalia, police officers Deniz (Erkan Acar) and Rocky (Adrian Topol) have almost nothing to do, nor do married couple Netti (Sanne Schnapp) and Hagen (Alexander Hörbe). Then Tina (Sina Tkotsch) turns up unexpectedly. She was assigned to begin closing down Station 23 for lack of crime, the colleagues here are apparently considered expendable. To save their jobs, the officers decide to switch sides and commit crimes themselves. Klaus (Bjarne Mädel), a homeless man, is someone they can blame for one thing or another. Tina soon becomes suspicious of the soaring crime rate. To distract from themselves and to gain time, Deniz and his colleagues pretend to be investigating anything and everything, and come across a hot lead in an unsolved case of art theft. This is a detective comedy about love, friendship, and self-determination and about the difficult handling of boundaries in the interpersonal sphere.

Few portraits of artists give us the privilege of getting as close to a painter as if we had free access to his studio. Oscar award winning director Pepe Danquart was allowed to accompany the painter Daniel Richter for three years. He has watched him paint with his camera, negotiate with his gallerist, talk with his publisher, and joke with his companion and artist Jonathan Meese. He interviews collectors, attends auctions, and even visits record stores. The result is a complex picture of a visual artist who seems to be constantly searching for the meaning of his work. Vernissages and auctions give structure to the film narrative, but its heart is Richter's studio. There we experience him as a craftsman, a restless doer, who reflects astonishingly frank and self-deprecatingly on his work, which for him is always also a political act. He talks about the process of creation, the effect, the meaning, and the significance of his own pictures, makes clear statements, and yet, for all his claim to validity, does not take himself more seriously than necessary.