15 directors explore the question of whether the cinema is dying out as a location, an art form, and language.
Ferdi thinks he's ugly – but likes the fact Jona is interested in him. Maybe because she's blind. What Ferdi doesn't suspect: She's just pretending to be blind to be able to live cheaply in subsidized housing. How long can she maintain her charade? Can love, which is supposed to make you blind, even work out that way? Director Tom Lass takes a closer look, shooting with blind actors and old Berlin buddies, acting the lead himself – paying tribute to a way of life beyond our way of seeing the world.
Helen Brindel is trapped in a violent marriage and the prison of her faith when she falls in love with a scholar, Professor Eduard Gluck. But he’s a secret porn addict. Slowly, carefully, two very different individuals get to know each other.
Tobias and Flasche are childhood friends. However, their alcoholic friendship is doing more harm than good to Tobias, who realizes he should focus on his family and career. Everything changes when Tobias tells this to Flasche.
An African-German Author loses his memory and is used by a modern National Socialist Party as promotion-figure for more political power over Germany.
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.
An independent tragicomedy, Run If You Can is the debut feature for director Brüggemann who, along with his sister, also wrote the compelling screenplay. Forced to spend the rest of his life in a wheelchair, Ben is deeply desperate, despite his humor and vivaciousness. When he meets Christian, his new assistant, Ben treats him like every other helper he’s had. Things suddenly change when Christian meets Annika, “the cello player” whom Ben has been observing from his window for years. The three become close friends, putting Annika in the middle of an emotional, and somehow dangerous, ménage à trois. While conquering Annika is nothing very serious for career-focused Christian, Ben’s love for Annika reminds him of his past and forces him to face his most remote fears. A character-driven story, Run If You Can owes much of its power to the actors’ performances, especially Robert Gwisdek’s outstanding interpretation of Ben.
Magdalena has to wash glasses at her own graduation ball. Rudi, who is in love with her, has to endure the presence of her boyfriend Julian. Julian doesn't have to do anything, but lets his mother look after him. They are united by one wish: To find their own path in life - not an easy task when, firstly, there is no guidance and, secondly, the dear family with all its lived compromises, lost ideals and a good dose of resignation stands in the way.
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