Dominik Weber

A pseudo documentary study of an archetypal German who tries to model his world according to his ideas of law and (sexual) order.

After losing his parents, a young Jewish boy wanders Eastern Europe, seeking refuge during World War II.

Painting is an unacceptable vocation for a woman in provincial Germany in the year 1900, but budding artist Paula Becker is determined to make her own rules.

Leipzig, December 1734: Christmas brings the Bach family together. The first snow has fallen and the children Gottfried and Elisabeth are delighted about the arrival of their older brothers Friedemann and Emanuel. The Thomaskantor has retired to his music room. Anna Magdalena supports her husband, as there are only a few days left and his latest work, the six-part "Christmas Oratorio", must be finished on time. It is awaited with suspicion by the city council and the gentlemen of the consistory, who have long found Bach's waywardness a thorn in their side and fear that, after the premiere of the St. Matthew Passion a few years earlier, the St. Thomas Church will once again be filled with "operatic" music. With the oratorio, Johann Sebastian Bach hopes that he will finally become court composer in Dresden. And, as always, he demands that all members of the family join forces to help him. But differences of opinion are increasingly delaying the completion of Bach's most famous work.

After her daughter's fatal accident at a busy intersection, Jenni is confronted with videos on the web of Mia dying. Instead of helping, passersby were filming with their cell phones. The horrific images won't let Jenni go. Horror and rage at the gawkers' pitiless curiosity take her completely captive. There is hardly any room for her grief; instead, she obsessively searches for the accident spectators in order to confront them with the consequences of their sensationalism. She finds what she's looking for – but her first encounters don't help her. No one seems aware of any wrongdoing, or capable of admitting it. Supported by a tough lawyer, Jenni decides to take action against the sensationalists.

The life of the station attendants Alfons and Bruno is characterized by an everyday routine that they carry out with pedantic thoroughness. Even though no passengers have come for years, they have never failed to sound the hourly warning signals. One day, when a group of traveling musicians show up in front of the ticket counter, Alfons' beloved order is thrown into disarray. Bruno, on the other hand, finds pleasure in the lusty life of the musicians and begins to question the rules of the station.

The SOKO Köln investigates the cathedral city with humor and often with hard work. Their cases take them into a variety of environments, from the Cologne clique to the terraced housing estates on the outskirts of the city.