Hannah, una alegre y enérgica maestra, desea salvar su relación con su novio Simon. Para ello crea una agenda llena de actividades para el próximo año con el fin de reavivar su relación, pero accidentalmente se deja la agenda olvidada en el banco de un parque. Jonathan, un solitario y adinerado heredero de una editorial, la encuentra y, con creciente curiosidad, se propone encontrar al autor. Milagrosamente, sus caminos se cruzan a partir de entonces, sin ser conscientes inicialmente de su conexión a través de la agenda.

Set in the early '80s, a time when a new wave of leftist political consciousness and activism had swept German youth (and was just about to disappear as quickly as it arrived), this satiric comedy follows a young couple, Ingo (Hans-Jochen Wagner) and Nadja (Valerie Koch), as they travel to Austria for a weekend of skiing near her parent's luxurious chalet. While Ingo and Nadja have an open relationship, he thinks its time that they commit to one another exclusively, and is hoping this weekend will convince her this is a good idea. However, their privacy is interrupted when several guests arrive -- friends of Nadja's brother Knut (Ingo Haeb), a noted political activist, who, unbeknownst to her, has also planned a ski weekend. As the guests await Knut's arrival, they get the unpleasant news that he's been arrested during a demonstration; several propose that they should come to his aid, while the majority decide instead to go skiing as a way to pay tribute to his commitment to the cause.

2017 television film directed by Sebastian Marka

2015 film by Markus Sehr

television film

2016 film directed by Jan Georg Schütte

The main thing is sexy - no matter whether thin, fat, what skin color, young, old, we can all be sexy in different ways. Almost every woman grows up having to work on herself in order to remain desirable. Why? What if we stopped pushing ourselves into a sexy pose with all our might? What if we no longer fought for the right to be sexy, but were truly free? What if we stopped investing all our time and energy in being heard and the world started to hear us? A modern movie about modern women and men - who might be able to find a common language.

Vera and Wolf Küper live in Berlin with their 5-year-old daughter Nina and their one-year-old son Simon. Vera takes care of the children and the household alongside a part-time job, while Wolf works as a scientific advisor to the UN, trying to raise awareness of the seriousness of the coming climate catastrophe. The stressful everyday life in a system that is not exactly family-friendly puts increasing strain on the young family and the couple's relationship. The Küper family's way of life is finally shaken to the core when little Nina is diagnosed with a fine motor and coordination disorder. At this moment, Wolf remembers a wish that his daughter expressed shortly before going to bed. Nina would like to have a million minutes, just for the really nice things.

From an early age, Arnold believes he is an extraterrestrial. Day in, day out, he is busy trying to build a flying machine that will finally take him "home". Protected by his mother Ida and her long-time admirer, the country doctor Emil, he is regarded as a quirky but lovable outsider in his home village.

Over sixty years after the end of the Second World War, forty years after the student revolts of 1968, thirty years after the “German Autumn” of 1977, twenty years after the fall of the Berlin Wall and, in the midst of the social upheaval caused by the reforms of “Agenda 2010” as the country moves into the globalised world of the 21st century, a group of German film directors have come together to create a panoramic impression – each from their own individual point of view – of the social and political climate in today’s Federal Republic. Each of the directors involved in this episodic film has created their personal cinematic take on present-day Germany.
招蘇珊桑塔格和《赤色風暴》女恐怖分子的魂；通街都是塔利班，窮小子必然是小偷。這邊拆舊樓是忘記「德國童年」，那邊放棄歌德字體，編輯要死。《黑金殺機》湯泰華扯頭纜，13導演響應，有《快樂的謊言》的胡夫根貝嘉、《玩謝希特拉》的丹尼李維、去年焦點導演《收視大騎劫》的漢斯雲格拿，和《天堂邊緣》的法堤艾金等，劇情片外也有論文和抒情詩紀錄片另類觀察。精彩對白摘錄：每個人都可以成為恐怖分子／德國已沒有人挨餓／德國需要一記腦震盪／德國已矣，他們相信不已。角度縱橫勁抽有深度有態度，絕非只有浪漫溫馨，模仿《我愛巴黎》。

2006 film by Ute Wieland