The magical-realist camera follows the trials and encounters of Jonathan as he attempts to fulfill his mother’s final wish: that her ashes be laid to rest at Alexanderplatz, Berlin. Carrying her blue urn and searching for a suitable location, he attempts to gain permission, assistance, and sometimes merely empathy from his fellow citizens.

A musician tries to get by working several jobs.

Former German Chancellor Angela Merkel is retired and lives with her husband and pug in a small town. She is bored with the quiet life. When a man is found murdered in a castle, she begins to investigate on her own, supported by her bodyguard.

The shy Hugo is a caretaker in a prefabricated building. He feels at home here, is appreciated by the residents and sings his songs in the corridors. Dramatic changes make Hugo uncomfortable in his home. Similarly dissatisfied is Johanna, who lives in a bus in front of the house and faces racism and sexism on a daily basis. The two grow closer - sharing a sense of not quite belonging and, above all, a love of music. For Hugo, the world is visibly coming apart at the seams: birds that reject freedom, a dollhouse that develops a life of its own - At the same time, a catastrophe is brewing in very real life that puts Hugo and Johanna's friendship to the test.

As stated in the opening titles and at the end Freakstars 3000 is supposed to be a commentary on the problems of the non-disabled people. The more I was shocked about how the disabled were depicted in this film the more I started to realize that in every non-disabled TV counterpart of this show (German TV shows like "Popstars" or "Friedmann" or the home shopping channels) its mentally "non-handicapped" participants are treated in a completely identical way: The total prostitution of the mind in front a huge TV audience at the expense of one's most important gifts one should hang on to: dignity. On the other hand one could completely understand people who are furious about "exploiting" these handicapped persons. But that's what Schlingensief's works are all about: shock people and don't care about those who cannot or will not try to get the message (if there is one).

Dance teacher and mother Nadja left her son Mario with her own mother when he was little. Now she has reappeared on his doorstep, seeking a closeness that knows fewer and fewer boundaries. An uncompromising film about family relationships.

Taking place around the German reunification of 1990, a group of East Germans cross the border to visit West Germany and get slaughtered by a psychopathic cannibal family who want to turn them into sausages.

Thirteen-year-old Daniel lives with his older brother and terminally ill father in a village plagued by rural exodus. There, the young people live their lives between rare bus stops, xenophobia, unemployment, illegal dog fights and chemical intoxicants, among other things. Daniel stands between childhood and adolescence, and in the face of the indifference and stagnation of his surroundings, he becomes the victim of inhuman conditions that force him into a painful loneliness.

The contrasts between Marlen (Corinna Harfouch) and Fynn (newcomer Daniel Sträßer) couldn't be any more extreme if they tried: Marlen's apartment is packed to the rafters with objects too valuable or important to throw away, while Fynn plans to go through life with only 100 things in his possession. The fact that they can't keep their hands off each other and end up falling in love holds true to the old adage that opposites really do attract...

Returnee Willy von Mühlenbeck has to realize that his evil brother Martin has risen to become the head of the industrialist family, while their ailing mother is in the hands of sinister doctors. When he falls in love with the terminally ill Els, fate takes a tragic course.