2010 film by Markus Goller

2007 Documentary film directed by Werner Herzog

Petra professionally works as a thief abroad to finance the studies of her younger sister Franziska in Germany. When she returns, she realizes that her sister has a secret, too.

In Belle Époque Paris, a 19th-century Parisian aristocrat falls in love with a lower-class prostitute who seduces him but never loves him.

ynopsis from Time Out Film Guide: Between the seemingly idyllic opening and closing scenes depicting a rural community, first at church, then at the village festival, Fleischmann attacks that community's prejudices and ignorance without remorse. His very precisely observed portrait of Bavarian life begins with little more than a display of the villagers' constant ribbing, bawdy humour, continuous gossip, and more than a hint of their slow-wittedness. With the return of a young man, their idle malice and childish clowning, always on the edge of unpleasantness, receive some focus: quite without foundation, the lad is victimised as a homosexual. The crippling conformity of their ingrained conservatism leads the villagers to reject anything 'different': a young widow is ostracised, more for her crippled lover and idiot son than her morals; a teacher is frozen out because she's educated; the casual destruction of the young 'homosexual' is given no more thought than the cutting up of a pig. Not Germany in the '30s but the '70s; nevertheless the political parallels are clear. An impressive film.

2012 film by Julian Pölsler

A German woman named Jasmin stumbles upon a dilapidated motel/diner in the middle of nowhere. Her unusual appearance and demeanor are at first suspicious to Brenda, the exasperated owner who has difficulty making ends meet. But when an unlikely magic sparks between the two women, this lonely desert outpost is transformed into a thriving and popular oasis.

The story revolves around Adam, a young postal worker who lives in complete seclusion in an old-fashioned but quite idyllic village. The special thing about this world is that all residents live in complete nudity. On one of his weekly walks in the surrounding forest, Adam finds something odd. For Adam it is absolutely clear: this is a masterpiece of craftsmanship. After he inspects the secret at home for a while, he finds that it pleasantly clings to his legs.
Will the villagers accept Adams new look? After some time, Adam dares before the door with his new pride - a pair of jeans - to present in public. But it proves to be an eyesore in a world in which no soul has ever seen a piece of clothing. The villagers react in shock at the wondrous object and it quickly becomes clear that they can not tolerate such a thing in their community.
Proud of himself and his passion, Adam decides, against all odds, to stand by his achievement, nirrespective of the consequences.

Four tales, each centered on a woman, journey inward to explore the enigmatic reality of their lives, connecting through a single narrative thread.

A champion marathoner leads a double life as a serial bank robber, sprinting between fixes (and away from police cavalcades) as many as three times a day.

Armin Steeb is adrift: just finished with school, living with his middle-class parents, clueless about finding work. He tries connecting with a girl, he engages in risky sex with strangers in public toilets, he goes to job interviews. He also sends an anonymous letter to a local Munich newspaper, claiming responsibility for a fatal road accident. He fitfully pursues notoriety as he goes through life nearly without affect. What will it take to get Armin to smile?

16岁的保罗忽然出现在叔叔家，说他要來度假。叔叔和婶婶尽管心中不快，但也不得不接纳这个行为乖张的侄子。潜藏在这个完美家庭底层的冲突，因为保罗的到來一一浮现，一张张虛伪的中产面具，也在欲望的冲击之下破碎。导演初试啼声即被喻为德国当代电影最重要的新锐，全片婉如现代版《定理》，以黑色幽默嘲弄中产阶级的虛伪，震惊嘎纳影展影評人周单元。
第59届戛纳电影节(2006)　 年轻评论家奖-最佳长片　 Matthias Luthardt
第59届戛纳电影节(2006)　 法国作家及作曲家工会奖-最佳剧本　 Meike Hauck

1972 film by Wim Wenders

An unusual road trip beginning in the Netherlands takes a series of unexpected turns through Germany and Eastern Europe.

2007 film by Christian Petzold

Johannes is a loner who wants a better job. And then he meets Ana. Ana is attractive and even though her job is even less prestigious th an Johannes's, he falls for her. And then she quits her job to be with him (and be dependent on him) and suddenly things become much more serious. She has fallen for him. But does he still love her? Did he ever? Enter Sarah. Sarah is the daughter of Johannes's boss. He and she have a past. Will Sarah and what she represents be his future, and Ana just a memory, something he'd like to erase?

The first movie of the "Berliner Schule" ("La Nouvelle Vague Allemande" Cahiers Du Cinema) that gained international recognition with it being screened in the "Un certain regard"-section of Cannes Film Festival 2004.
After the very sparse white on black of the opening credits we see the back of Sophie's head. She's in a car, she speaks awkward French, the woman who drives gets out, gets her a map, of Marseille. We learn, very soon, that they are exchanging apartments, the other woman, her name, we learn later, is Zelda, will go to Berlin and Sophie will stay, for a few weeks, in Marseille. Zelda says: Guten Tag, Auf Wiedersehen, Mein Freund, der Baum, ist tot - the latter phrase being a German song by a German singer who died young. Zelda disappears, Sophie stays. Zelda very literally disappears because there won't be a trace of her when Sophie will return to Berlin. The Marseille apartment, empty, unlived in as it is, will have been a gift, something inexplicably given in a film that ends with something - almost a life - taken.
Sophie, for the first third of the film, is in Marseille. She walks around, she takes pictures. She looks at the pictures, she moves without a direction, the camera is with her, sometimes distant, sometimes following her closely. Sophie is a stranger in a strange world, she sometimes seems cut off from her surroundings. We hear sounds, we see her face but the background is blurred. She does not seem unhappy, she does not seem happy. She does not talk much and she always thinks for a long time when she is asked. In the end she will be asked what it is she photographs. She will think for half a minute (or perhaps she does not think, but simply refuses to answer, to herself, to the policeman who asks) and then she says: The streets.
We do not know much of her and we do not learn much of her in these minutes we spend in Marseille, walking around with her. She meets a young man from a garage, who lends her his car, she drives around, which we don't see. There is a lot we don't see - although it takes some time to realize how much. She meets the young man in a bar, they drink, a friend arrives who insults Sophie, for no reason. Sophie and Pierre, the young man, walk up in a street that is lit in brownish golden light and they sleep with each other, which we don't see (and, really, don't know). The next night they dance.
One very sharp cut later Sophie is back in Berlin, she is approached by a young woman who returns a cap to her, a cap she has left in a McDonald's restaurant before she went to Marseille. There is more she has left, or rather: she has run away from. (At least this is what can - but does not have to be - inferred.) There is Ivan, a photographer she might be in love with. There is Hanna, an actress, Ivan's girl friend, their son Anton. We learn more about Ivan, we learn more about Hanna. We see Ivan taking pictures of women workers in a factory, without an explanation. We just see and watch. We watch the women from a sidewards angle, then we watch Ivan taking the pictures, then we watch the woman from Ivan's perspective. They talk, but not much. We just hear and see and watch. There is a lot we see - although it takes some time to realize how much. We are left with these images. They remain unexplained and they don't explain what we see. "Marseille" has a bewildering structure, switching from the elliptical cut (shocking, really) to the insistent gaze (frustrating first, but amazing after all).
For ten minutes, at least, we watch a rehearsal. Hanna plays a minor role in a Strindberg play. The same scene is rehearsed three times. We watch the man talking to the woman in an aggressive Strindberg way and we see Hanna entering the stage. Then the camera moves to the left and we watch the woman answering to the man in an aggressive Strindberg way. This time we don't see Hanna entering the stage. When leaving she makes a mistake, she adds a word that does not belong in her line. We see her then off stage, cowering. Hanna is not happy. She is not happy with David, she suffers from unexplainable pain. We do not learn much more about her. Sophie is out of sight for quite some time. We start doubting if this is really her story we are told. Oh yes, it is, but Schanelec refuses to follow her and her story in linear fashion. Ivan's taking of pictures, Hanna's rehearsal become important, not so much as explanations for their behaviour, just as the parts of their lives Schanelec has decided to follow.
Sophie then returns to Marseille and after the most daring ellipsis we see her at a police station, in a yellow dress. She sits, then she talks, then she does not talk for half a minute. She is asked what it is she photographs. The streets, she says after what seems a very long time. She cries. We see her on a sidewalk, the camera moving parallel to her. She crosses the street, the camera remains on the sidewalk, Sophie is moving away from it. Then she stops and the camera stops. She enters the German consulate. In Schanelec's (and cinematographer Reinhold Vorschneider's) films you see the most intelligent and subtle travellings imaginable - and even mor effective as they starkly contrast with a lot of very long, very static takes that just make you watch and see.
"Marseille" ends with a series of takes on the beach. It is getting dark, the streetlamps are switched on. We see Sophie in her yellow dress, distant, moving, we see the sea and there is a strange kind of consolation in this image of the dress, Sophie, the sea.

A man travels from Paris to Berlin. He’s looking for his wife. He will find her in a sanatorium and take her back to Paris with him.
His wife goes to Berlin every year. She is desperately searching for her daughter. In 1989, their daughter was abducted at the age of three. And she has remained unaccounted for.
One day the woman discovers a girl, Nina. She is a vagrant, a drifter. An itinerant, young woman. She roams around with another girl named Toni. She’s a girl who takes what she wants. A thief. The wife believes that Nina is her missing daughter.

艾博（皮埃尔·波克玛 Pierre Bokma 饰）和薇拉（詹妮·施希里 Jenny Schilly 饰）结婚已经二十余年了，两人共同养育着可爱的女儿海伦（Maria Elise Miller 饰），生活可谓是风平浪静。实际上，艾博和薇拉在很长一段时间里都分居两地，艾博在一家研究嗜睡症的医疗机构里上班，虽然工作非常的繁忙，但他是真心的热爱自己的职业。
近日里，薇拉的情绪非常的不稳定，海伦离开了她前往德国深造，她无法忍受孤身一人的日子，急切的希望艾博能够回到她的身边陪伴她，但这对于艾博来说，便意味着放弃自己的事业和理想，一时之间，艾博不知该如何选择。

2012 film by Christian Petzold