Daniel Doujenis

SOKO Kitzbühel is an Austrian television series produced by ORF and ZDF. It is a spin-off of the German crime series SOKO 5113. It is set in the renowned Tyrolean tourist centre of Kitzbühel. The production company "beo-Film" has produced the show since 2001. The German abbreviation SOKO stands for Sonderkommission, "special commission", a task force with specific duties.

They never expected Kyra to turn up again. The two brothers and their sister, brought together when their father dies, are stunned by the appearance of their sister.Kyra suddenly vanished over twenty years ago during the breakup of the hippie commune where they were all born. She is like a stranger to them now... but when she discovers that her very existence has been kept secret, she starts to uncover old mysteries. And soon all the brothers and sisters find themselves unearthing the roots of their childhood memories they had suppressed in order to survive. In her debut feature film Marie Kreutzer embarks upon an intriguing and disturbing journey into the past, a gripping study of belonging and solitude, bonds and freedom. Written by Novotny & Novotny Film

The winegrower Josef Fink has his eye on the vineyard of his neighbor Franziska Habicht. When fate hands him an ancient contract stating that the Habichts' vineyard became the property of the Finks back in 1602, a small war begins between the winegrowers. Naturally, Franziska leaves no stone unturned to contest the document. In the process, her son David, who is in love with Josef's daughter Marie, uncovers a family secret.

Adolescents in the amphibious situation between child and adult try to cope with their emotions and their environment. Right there they would need limits, a foothold and hope and yet they signalize the opposite. Between loss, extinct love, parental problems and their own needs the parent generation tries to understand or at least to save something.

“The Meadow”, a film by so far unsuccessful director Fritz Aigner, causes a surprising stir at the Venice film festival. As a result, a notable producer tasks Aigner to shoot a sequel. The making of the film turns out to be a disaster. As the entire film crew rebels against the director’s growing delusions of grandeur, he finds himself confronted with the antagonists of his own fiction: Morgenstern and Boyd. They suck him into a spiral of sexual obsessions and omnipotent fantasies, at the end of which there can only be the failure of the film or death itself.