From the 1950s onwards, Erika and Ulrich Gregor brought countless film historical milestones to Berlin and shaped cinema discourse in post-war Germany. A look at the life and work of the couple without whom Arsenal and the Forum wouldn’t exist.

Lynn is a cheerful 22-year-old who works at a cafe and lives with her brother. Though she has no real direction in life, she is happy. Conversely, her boyfriend, David, is a career-driven swimmer who seems to care only about his training. Then Lynn meets Japanese exchange student Koji, and, though they speak different languages and spend most of their time together in silence, the two soon become closer than she and David had ever been.

She is the grande dame of German and international cinema, always a bit of a rocker chick, freedom-loving, adventurous and willing to take risks. This portrait unfolds Iris Berben's career, which has spanned more than five decades - between the art of film and television, between rock 'n' roll and political commitment.

A cheerful, amusing and melancholic look back at the Munich film festival from the perspective of the people who make up the film festival.

A film by Karin Thome.

The story of a woman who has to choose between two men. Shot in black and white and in the classic silent movie format. There is no camera movement, neither a pan nor a drive and certainly no zoom. Everything is extremely simple: the title, the title credits, the music (a flute sonata by Bach), the story that is told.

A story about the continuity and collapse of history, the power of suppression, and the terror of reconciliation; loyalty, treason and revenge. In a brave cinematic game, Heinrich Böll’s story Billiards at Half-Past Nine is split up into cracks, blocks, breaks and sudden turns, as the life story of a German family, covering numerous generations, is propelled forward.

Documentary about the current state of German cinema. Produced for German television.

A young man gets caught up in criminal activities in order to fulfill his desire for an easy life.

Loosely adapted from Goethe's novel on the social conventions of marriage raised to level of symbolic parable.

In the 1970s, the Munich Group set about revolutionizing German film with low budgets and an excess of creativity. The Bungalow bar next to the Türkendolch theater was their meeting place, who were inspired by the French New Wave and New Hollywood. Munich Group star Iris Berben takes us on a journey back through time, a wild trip full of film clips and interviews with major figures of an unforgettable era.

Blank's TV documentary on Straub-Huillet.

A man, alone in Berlin. He sleeps and watches TV, walks through the city. A woman approaches him. Does he feel like having coffee with her? No.

Two girls go to Berlin, one to find a German girl who lived at home in the 50s when her parents divorced, the other to look for a role in German cinema.

Rudolf Thome’s idiosyncratic oeuvre was created with a continuity rare in German cinema – he has directed 28 feature-length films over more than four decades since 1968. The writing of the script for film no. 29 and the parallel efforts to secure financing form the thread that runs through this cinematic portrait, which consists wholly of conversations and observations around Thome’s home, a converted farm in Brandenburg. The filmmaker is nothing if not forthcoming, and the viewer has the opportunity to experience him in various other roles: as a gardener, a father, a cyclist, and a performer of his own persona.