Zeljka Preksavec

Martha and Helene Weiß - one a devout nun in a Swabian convent, the other a convinced atheist and mother. Two unequal sisters who almost only argue with each other. Martha's faith in particular is always a red rag for the younger and wilder Helene. But then Helene is involved in a car accident with her daughter and husband. However, when she wakes up in hospital and learns that her husband and child are dead, she feels no grief. She suffers from retrograde amnesia. In other words, she can still remember Pippi Longstocking, for example, but not her own family. Now it is Martha, of all people, who brings her to the convent and gives her support. But can she really trust this stranger?

When successful archaeologist Ursula Scheuer makes a sensational discovery of a body during a bog excavation, her demented mother suddenly dies. Unexpectedly, a childhood trauma breaks out for Ursula. The appearance of her new assistant Mel is also puzzling: she seems to know Ursula’s past very well. Ursula is increasingly drawn into a mysterious web of fantasies and deceptions and must finally free herself from it.

While Sasha's mother is dreaming of her son's great career as a pianist, Sasha is left speechless for other reasons: his beloved piano teacher Mr. Weber tells him, he is leaving town forever. Sasha is heartbroken, and the only person in whom he can confide his feelings, is his best friend, Jiao. As a son of an Ex-Yugoslav family even in Germany one rarely lives outside the closet, and Sasha is grateful that his homophobic father believes Jiao is his girlfriend. But what begins as a useful lie becomes a large and complicated one, when Sasha's younger brother, begins an affair with Jiao. All lies get exposed and what appears to be a catastrophe is in fact the revelation of new possibilities in the lives of Sasha's family.

Father Iversen has a mission: to save his parish. He already has an idea. With a spectacular performance of the Passion story, he wants to convince the theater-loving archbishop to keep the parish. But director Roberto, who has been canceled by the Berlin theater scene, and Mia, the butcher who has returned involuntarily, thwart his plans.

A nameless man receives phone calls intended for someone else and ends up pretending to be that person, while a female character rebels against her author.

By-the-book logopaedist Matthias Pretschke, failed husband and father, is the very embodiment of order, who doesn't know what hit him when his wife Petra demands a divorce. Admittedly, he hasn't paid much attention to Petra, nor to their daughter, who's in full puberty, nor to their son, who craves his dad's attention. Petra agrees to give him one week to show them if he can change. And he's in luck: he meets himself, only cooler. Tom Senger is the name of the twin he never knew he had. Though Matthias and Tom look alike, they're completely different. Tom, for example, is a typical actor: arrogant, macho and broke. Matthias decides to switch roles in the hope that Tom can be a worthy replacement for a week. "I'm playing you. Only better," says Tom, who sees right away what's missing in the Pretschke home. As the days go by, it gets more and more difficult to distinguish which one is which. And this may not be bad at all.