Dilim dönmüyor – My Tongue Does Not Turn

A long-separated German mother and her half-Turkish daughter are reconciled in a splendidly serene dramatic comedy.

Danger and Kaspar are graffiti artists who have each been ejected from their respective crews. They decide to work on a project in honor of one of their deceased brethren.

Trojan is a professional with a knack for robberies. After his release from prison, he picks up where he left off. But then, while preparing for his next job, he finds himself in the crosshairs of a corrupt police officer.

Thomas Arslan's second feature film and part of his Berlin trilogy is a slow-paced milieu study of German-Turkish youth in Berlin-Kreuzberg. The film depicts the everyday life, domestic conflicts, dreams, and disappointments of three siblings and their aimless, meandering strolls through the Kreuzberg district.

A long-running German television series about a two-man team of highway police, originally set in Berlin and later in North Rhine-Westphalia.

A day in the life of the 21 years old Deniz, who aims to become an actress and makes her living by dubbing movies. After she has split with her old boyfriend she gets to know Diego and spends the evening with him.

The film is set in a modern day 'Berlin Republic' liberated from all irrelevancies. It's about artistic production, the creative industries and above all film and cinema - a political manifesto in feature film format. It centres on Asta, tough, hardened by theory and immaculately styled right down to the emblems on her leather jacket, with current art scene jargon flowing elegantly from her lips.

Dentist Sue and the philosophy professor Anton have been leading a seemingly intact life, juggling careers and a family with four children. Until one day, however, when their 18 year-old son Thomas has a breakdown. Thomas' situation threatens the stability of the family.

KÖY (Turkish for village) is about the longing for home, for belonging and the freedom of the self. Three women from three generations are united by their Kurdish roots.

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.