Claudia Plöckl

SOKO Leipzig is a German police procedural television programme, a spin-off of the earlier German police programme SOKO 5113. It was first broadcast on 31 January 2001, on German television channel ZDF. On 12 November 2008, the first part of a two-part crossover between SOKO Leipzig and British police procedural The Bill was aired, with the same version being shown on both ZDF and British television channel ITV1.

A medic lives with his small and strange family between the mountains and every episode he comes across a situation with not only his patients but also his family and friends.

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This film follows its two protagonists Anne and Leo like a wandering companion. Both in their early thirties, they are close friends but not a couple. What connects them is their urban background and their cosmopolitan attitude. Where they differ is their completely diverging approach to the little things in life. Their days and nights are full of possibility and yet nothing presents itself as inevitable. Anne is a successful director pursuing her career with singleminded determination. But she doesn’t have much of a social life. Leo’s head is in the clouds. He wants to be a photographer and is yearning to love and be loved. Their personal encounters and inspirational adventures cause them to realise the limitations of their varying approaches to life.

Rada and Chloe are homeless. When the train on which they are secretly washing suddenly leaves early, a game of hide-and-seek begins - if Rada is caught, she faces prison.

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The Congolese Sikumoya faces prejudice and racism on a regular basis. He's accused of not adapting enough to the "German culture" and tries harder. A Neo-Nazi group and his mother-in-law push him to the breaking point. While in a coma, his metamorphosis completes.

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In the name of his first love for a beautiful Turkish woman, the young German renounces his past by burning family photos. He is no longer Thomas. Now, he is called Hamza. And he is enlisted. Alexey Basargin is a captain in the Russian army, a scout, a loving husband, and father. They keep video diaries of their lives. Two destinies. Two worlds. The collision is inevitable.

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Last Year in Utopia documents an experimental set-up: a staged group media experiment, isolated from the outside world, is reconstructed on the site where the original events unfolded. The boundaries between autonomy and heteronomy dissolve in new role assignments as the film makes the power structure behind the artificially created utopia visible.