Sven Taddicken

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.

Helen Brindel is trapped in a violent marriage and the prison of her faith when she falls in love with a scholar, Professor Eduard Gluck. But he’s a secret porn addict. Slowly, carefully, two very different individuals get to know each other.

Maria finds herself caught between two worlds. At school this 14-year-old girl has all the typical teenage interests, but when she’s at home with her family she follows the teachings of the Society of St. Paul and their traditionalist interpretation of Catholicism. Everything that Maria thinks and does must be examined before God. And since the Lord is a strict shepherd, she lives in constant fear of committing some misconduct...

While two young teachers are spending their summer holiday on the Mediterranean coast they are overwhelmed by a sudden attack. Back home, they try to deal with the trauma in their own ways until a surprising encounter changes everything.

Upon being informed that he is fatally ill with cancer, Max, who works at a used car store, steals money which his boss has gained through illegal means. When fleeing from the scene of the crime Max crashes his car. He is pulled unconscious from the destroyed vehicle by a homely young woman, Emma, who lives alone on a farm where Max decides to stay in order to hide from the police and his boss.

The era of the feared sea pirates Klaus Störtebeker and Gödeke Michels is coming to an end. After a long period with no booty at last a bulging ship appears on the horizon. However, Störtebeker is badly wounded in the attempted capture and the pirates suffer ignominious defeat. Not only their ship is down the drain - Störtebeker himself is suddenly plagued by anxiety and doubt about his very existence as a pirate. He is drawn to the beautiful country girl Bille, while Michels gets rebuffed by the friesian princess Okka. In the very moment that the crew have mutinied and co-captain Michels is literally at the end of his tether, they discover on board their ramshackle old tub a most unique wonder weapon. Glory days are quickly revived - until the mighty Hanse consolidate their power and weaponry and go to war against the pirates. Störtebeker and Michels are forced to decide: To live as a farmer or to die as a pirate.

An eleven-year-old Turkish boy, two young men from a small town, and a cuckolded policeman from the sticks all find their way to Berlin on May Day, where, in the district of Kreuzberg, emotions come to the boil every year.

An African-German Author loses his memory and is used by a modern National Socialist Party as promotion-figure for more political power over Germany.

Josh is about to turn 30; he's mentally retarded, and likes to play at being a vampire. His sister Nicole is 15, and dealing with her impending womanhood; middle brother Mike is the "normal" one, but in some ways the most childish - his latest conquest is Nadine, who runs the dog kennel at his security guard job. Nic is fixated on getting laid, and watches Mike and Nadine through the skylight with Josh. Josh also gets fixated on sex, though he has no clear idea what it's all about, and in particular on Nadine; to Mike's chagrin, she seems more interested in Josh than in him.

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.

A young girl steals a car and drives to the Baltic Sea to bury her dead boyfriend.

A short love story between a lonely sleeping-car attendant and a lousy toy salesman.