Tom and Malte are best friends; they make music together, DJ in Berlin clubs, dream of a career together, party until they drop, wait tables at a casting service and yet they are very different: Tom struggles with himself, his life and the future. When one day Mavie, Mitsch's "little" sister from Munich, moves into the Berlin flat share, Tom's emotional rollercoaster begins. Daredevil Malte, on the other hand, seems to have his luck in his pocket: Everything he touches succeeds. Tom sees no other way out than to escape: out of the city and into another life. His friends try to stop him, but even they know: Tom has to make this decision himself if he doesn't want to stand in the way of his happiness forever.

Two twin brothers are living on a different sides of Berlin Wall after being separated after birth.

Thomas and Hanna, a deliriously happy couple in their late 30s, buy an old house in the country with plans to fix it up over the summer. Hanna is looking forward to their time together – so when Thomas invites his older brother, Friedrich, who is deeply depressed over the failure of both his business and his marriage, to join them, she is disappointed by the intrusion. Easygoing, charming, and talkative, Thomas seeks to counterbalance the cloudier mood with an impetuous frenzy of activity, but Hanna retreats into sullenness and retaliates by bringing in her nubile young godchild Augustine until things smooth themselves out. Augustine’s youthful sexiness has anything but a soothing impact on Thomas, however, whose adolescent impulses linger just below the surface.

Baal, a young artist whom society regards as a genius, does not want to be monopolized by the culture and business.

Nothing is more persistent than an unconfirmed rumor. And the less likely it sounds, the more seriously some people take it. Years ago, when reports circulated in the German media that Angelina Jolie and Brad Pitt were about to take up residence in Berlin, the media were mesmerized and kept churning out new reports where there was actually nothing to report. Film critic Hans-Christoph Blumenberg has made this initial situation the focus of his film Waiting for Angelina, which, in the guise of a summery light comedy, takes aim not only at the media's lust for celebrities, but also at the trials and tribulations of supposedly "normal" relationships.

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.

Summer 1780: On the way to Salzburg Emanuel Schikaneder's theatre group gets held up in a small mountain village on the Austrian border due to a missing performance permit. In this village a dispute between mine owner Paccoli and the rebelling mine workers is escalating. The situation immediately inspires Schikaneder with the idea for a new play- but before long not only the mineworkers, but also Schikaneder's performers take to the picket line. This is because Schikaneder seems to care more about spending time with high society than his actors, who the Landlord refuses to feed until Schikaneder pays the outstanding bill. A hastily put together open air performance by the troupe leads to major disruption....

Eight people on a journey across Germany. Each has a destination in mind, each has worries as well as wishes. Fate brings them together. The carpooling agency throws them together in three cars. They have to spend several hours together in a very confined space. A shy wallflower, a pushy swimwear salesman, a boy who wants to get out of the provinces for a weekend... Their lives become intertwined for a few hours during the trip. But how do such different people fit together at all? This question is the source of the movie's suspense.

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.

On the last day of the Munich Oktoberfest, the paths of different people cross: While Birgit questions her marriage to Max, single father Richard is caught in a conflict between his young lover and paternal responsibility - his son, whom he only sees very rarely, has been looking forward to an evening with him; but Richard also needs to talk things out with his young love. Meanwhile, some crazy Italians come to Munich. Alessandro falls in love with a newly married Japanese woman. A traditional showman's family fights against ruin and an embittered young wheelchair user who keeps the officers at the local police station in suspense with hidden threats...