Daniel Popat

A family moves from hip Berlin to a semi-detached house in the idyll and gets to know their neighbors...

The sequel of the "Men in the city" movie which reunites all the characters.

Jamu, who comes from India, is in trouble: his residence permit has expired. He hopes for help from Uwe, a slot machine gambler from his local pub. He might be acting like a bloke, but his wife Erika kicked him out.

Katrin, an ambitious product designer who is completely overwhelmed with children, household and job, lives with her husband Jan and their two children in an idyllic house in Berlin. When Jan confesses to her that his company is bankrupt, Katrin has to accept a thankless major contract for the sanitary facilities of a design hotel. But with children, household and job, Katrin quickly reaches her limits. By chance, she finds a computer on the Internet that she can configure to look like herself! When the order arrives, the android is a dead ringer for her - and initially helps her with her daily chores. The android even does the shopping at lightning speed and completely independently. Gradually, "Kate" develops human traits. When she also makes a pass at Jan, it's high time to get rid of the unwelcome guest...

Two worlds collide when the thoroughbred Swabian Roland Reuter is transferred to Duisburg by his employer, the bakery Weckle. There he is supposed to bring the downsized company branch back into the black. For the solid employee an immense challenge - not least because his wife Sybille and pubescent daughter at home in the country has remained. Thus, Roland works hard from Monday to Friday to implement Swabian work ethic for his staff, who are endowed with typical Ruhr-pot-serenity.

You: an experienced vixen with the fashion sense of a random generator. He: an Italian pretty boy who swallowed all American action films with his mother's milk. Together are Herta Frohwitter, played by Ulrike Krumbiegel, and her assistant Marco Petrassi, played by Daniel Rodic Frankfurt's new investigator duo. They successfully fight "Verbräschä" and also the quirks of each other. The first common case leads them to a wedding fair. Rosi Döpfner, a hotel manager who is no longer completely fresh, reports her fiancé Rüdiger Vogelsang as missing.

Sandra and Ulrike have to decide the fate of their mother, who falls into a coma due to a ruptured aneurysm and has to be connected to life support machines.

Johanna and Thomas drive out to the countryside. They want to spend time together, having neglected their marriage for quite some time. Upon arriving at the empty house where Thomas spent his childhood, Johanna quickly sinks into her home office and Thomas pottering around, barely speaking to each other. Their silence is broken when an unknown person appears—the real reason for their stay comes to light. In the setting of an intimate play, we learn about a broken marriage, disappointments, and intrigues—and about the attempt to rediscover the happiness of love from days gone by.

No description available.

In 1978, Fassbinder documented the socio-political circumstances of his time. Almost 40 years later, we are once again experiencing “Germany in Autumn,” this time against the backdrop of the coronavirus era, which has profoundly transformed our social climate. A staged statement, and not least, an homage to RWF.