Christian Schmidt

A team of inspectors investigates murders in and around the small Upper Bavarian town of Rosenheim, and they still have plenty of time to see idyllic landscapes and luxurious pre-alpine villas and enjoy sumptuous Bavarian fare with beer.

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Practical semester at the Halle/Saale Police College: Finally out of the seminar rooms and into real life - which for the students means: real murder cases. With the support of their trainers in the homicide squad, they will have to solve this. The beginners sometimes overshoot the mark, make mistakes and have to learn new things on their way to becoming fully qualified detectives. In each episode, a case between the university and real life is dissected, discussed and solved, while the private complications of the students, lecturers and trainers are not neglected.

Verdi's sweepingly ambitious opera on war, religion, love and fate is given a cinematic staging by Christof Loy. The Marquis of Calatrava forbids his daughter Leonora to marry the South American nobleman Don Alvaro. The lovers attempt to elope, but the Marquis catches them. In the ensuing altercation, Alvaro accidentally kills the Marquis, who curses his daughter as he dies. Leonora and Alvaro become separated during their escape. Leonora's brother Don Carlo di Vargas decides to find them and avenge his father.

Ten-year-old Lena has been looking forward to Christmas for weeks. But three days before Christmas Eve, she falls onto the ice while ice skating and falls into a coma. Her distraught mother Marie spends day and night at her bedside. Two months later, Lena wakes up - she thinks it's just before Christmas. And because Marie has promised that this year's celebration will be extra special for Lena, Christmas has to come a second time - with all the trimmings...

Intimate images of Schreiner's own family and friends' experiences, presenting them as seemingly unconnected scenes that resemble snapshots from a photo album.

Following Bellavista and Totó, Peter Schreiner completes his informal trilogy of epic, black-and-white digital-video essay-films with the utterly monumental Fata Morgana. Shot in the Libyan desert and in an abandoned building in Lausitz, Germany, it features a man (Christian Schmidt), a woman (Giuliana Pachner, from Bellavista) - and, glimpsed now and again, a guide (Awad Elkish.) They talk, they fall silent. Winds blow. The sun shines. The camera runs. What gradually takes shape is nothing less than a painstakingly concentrated attempt to understand the human condition through the lens of cinema. A lofty ambition, and one that demands a considerable leap of faith on the part of the audience: this film is sedate, "difficult", challenging, often apparently impenetrable. But anyone who has seen Schreiner's previous films will be aware that he is by any standards a major artist, one that can be trusted to find places that other directors may not even suspect exist.