Andreas Döhler — Actor (10)
The Calendar Killer (2025) [Movie] IMDb WikiData TMDB
Sebastian Fitzeks Der Heimweg
director: Adolfo J. Kolmerer actor: Luise Heyer / Sabin Tambrea
other title: 달력 살인자 / カレンダー・キラー
Klara is going to die today unless she kills her husband instead. The Calendar Killer has given her that impossible choice. When Jules starts his night shift at a telephone safety helpline for lonely women on their way home, Klara's call reaches him. He soon becomes her last hope for survival and races against time to save her.
不要 (2021) [Movie] Douban
director: 迪特里希·布鲁格曼 actor: 安娜·布鲁格曼 / 亚历山大·库昂
other title: / Ne!
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.
The Components of Love (2019) [Movie] Douban
Die Einzelteile der Liebe
director: Miriam Bliese actor: Birte Schnöink / Ole Lagerpusch
other title: 爱的零件 / Die Einzelteile der Liebe
导演米里亚姆·布利泽的科幻小说改编的电影《爱的组成部分》是她为德国柏林电影电视学院(DFFB)拍摄的毕业片,在爱、分离和心痛之间摇摆。苏菲和乔治曾经相爱过,但现在已经分开了。几乎整部电影都发生在柏林同一个门口。在一个椭圆的方式,个别的场景中的死亡,爱恩泽尔泰尔列比描绘了一个家庭,对他们来说,拼凑是一个新的正常的词-并采取一个简洁的看待日常不合理的爱。
The fiction film Die Einzelteile der Liebe (The Components of Love) by director Miriam Bliese was made as her graduation film for the German Film and Television Academy Berlin (dffb), and oscillates between love, separation, and heartache. Sophie (Birte Schnöink) and Georg (Ole Lagerpusch) once loved each other, but now they have split up. Almost the entire film takes place in front of the same doorway in Berlin. In an elliptical way, the individual scenes of Die Einzelteile der Liebe portray a family for whom the word patchwork is the new normal — and take a laconic look at the everyday irrationalities of love.
初恋爱翻墙(港) (2019) [Movie] Douban
director: Florian Aigner actor: Emilie Neumeister / Ludwig Simon
other title: Im Niemandsland
Its the summer of 1990, two teenagers in Germany fall in love - an innocent first love, shortly before the German reunification. Katja (16) is from West-Berlin, Thorben (17) from GDR. Their families are fighting over a house in Kleinmachnow (a suburb of East-Berlin), where Thorbens family has been living since the 70ies, but where Katjas father grew up. The family had to emigrate to West-Berlin in 1961, just before the Berlin Wall was built. Later, the house was dispossessed under GDR-rule. Now, Katjas father demands restitution. The conflict grows bitterer and threatens to tear apart both families. It is about old wounds and new prejudices. While being in the middle of Germanys swiftly progressing process of reunification, Katja and Thorben have to fight for their love.
All Good (2018) [Movie] Douban TMDB IMDb WikiData
Alles ist gut
director: Eva Trobisch actor: 安妮卡·布伦德尔 / Doris Buchrucker
other title: 一切都好 / Alles ist gut
A woman sexually assaulted by her new boss's brother-in-law tries to move on as if nothing happened, but the night weighs heavily on her mind and body.
Blutsauger (2020) [Movie] Douban
Blutsauger
7.2 (5 ratings) director: 尤利安·拉德迈耶 actor: 科琳娜·哈弗奇 / 莉莉丝·斯坦根博格
other title: 吸血鬼 / Bloodsuckers
August 1928: while workers and farmers search “Das Kapital” for answers to some mysterious vampire bite marks, a self-proclaimed baron enters the life of the charming heiress Miss Flambow-Jansen, as well as her luxury Baltic residence. As it turns out, he is actually a proletarian impostor, forced to escape from the Soviet Union because of a political incident involving no less than Sergei Eisenstein and Stalin himself.
Julian Radlmaier takes his trademark “ironical materialism” even further, with a new mixture of ideology and cinephilia that gives rise to a dialectic fable-cum-formalist-comedy, assuming that the Marxist description of the capitalist as a vampire is far from metaphorical. And while the entire film features historical inaccuracies that highlight the subject’s current relevance, it is the finale, with its abrupt detour into manipulation of reality and xenophobia, which really emphasises how injustice and lies prevailed then as now – only now more than ever. The oppressed continue to aim their class violence in the wrong direction, once again offering their necks to the oppressors’ fangs.