Jutta Tränkle

After eighteen years of marriage, Alice finds herself confronted with the fact that her husband Frank feels more and more attracted to men. Not only Frank, but also she and their three children undergo an irreversible change.

Solar System is a film about disappearance. It is a portrait of daily life in the indigenous community of the Kollas in Tinkunaku in the mountains of northern Argentina.

Retraces the roots of the escapade of a group of Georgians in their twenties who hijacked an Aeroflot passenger plane on November 18, 1983 from Tbilisi.

"Pictures from the late eighties in the GDR on up to the immediate present in the year 2008 in Germany. What has been left over besieges my mind. All these pictures keep reassembling themselves to make up something which they were originally not made for. They are still in motion. They are becoming history." (Thomas Heise)

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In Saxon-Anhalt, near the town of Zerbst, set away from busy roads, next to a deserted military landing strip, is the village of Straguth. An unimportant place. Lost in time. Or ahead of time. The film describes the people of this quiet place, in the past, the present and the future. A film like the digging of a hole. If one could dig in spiral form. And dig a black hole. An archaeological journey to landscape, people and things, traces of changing times and transition. Wide open landscapes and detailed drawings of people within. And on entering Otto Nathos’ modest bar, there is always talk of the war. The era of youth.

Icke wants a wife, not a Russian bride, but one who is always there for him and who will sometimes make him a fried chicken. But Icke is illiterate, a secret he keeps well. In his last hope, he calls a crisis counseling service. When he hears the voice of the crisis advisor, the tide turns.

Berlin and Beirut were occupied, destructed, divided, reconstructed and today people still say "East and West" in both cities. Through the whole film Berlin and Beirut become one city. One space. A space where you feel the weight of the past and the lightness of life sharing with Myrna her stories, adventures and memories.

Over seven years, director Thomas Heise revisits five young actors from his 2007 Berlin staging of Heiner Müller’s “Anatomy Titus.” At irregular intervals, he asks them to film their everyday lives and articulate their hopes. The footage is deliberately fragmentary and non-linear: there is no smooth narrative or causal thread. Among them, 22-year-old Sven, whose apprenticeship, naval stint, dishonorable discharge, and failed relationships leave him convinced “nothing comes next”, becomes the focal point of this long-term observation. Invoking Müller’s own outsider declaration - “I am a Negro” - the film offers a stark, uncompromising portrait of aimless youth while Heise probes his role as documentarian.

Twice different. Five immigrants in Germany tell there stories. Do they feel different because they are from another country? Do they feel different, because they are lesbian or gay? Are they discriminated against because of their sexual orientation or because of their skin color? Or are theses issues not nearly as dire and drastic as others might think? In the end each story gives a different answer.