Edelgard Hansen

Rote Rosen is a German telenovela produced by Studio Hamburg Serienwerft Lüneburg and broadcast by Das Erste since November 6, 2006. The show is a complex telenovela, who tells one love story every season about women in their forties.

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What hurts more: losing the wife to her younger lover after 21 years of marriage or having to share a lottery win with her after the breakup? The parcel carrier Henry doesn't want to give up half of his unexpected wealth because of the divorce. While his wife Ellen wants to make a clean break with the new beginning, he tries to save the long-hopeful marriage, but only on paper. The disappointment hurts too much to share the cash fairly! Neither his own daughter, who needs money for a journalism school, nor his best friend Mehmet know about the new fortune. His "favorite colleague" Mona either doesn't like the fact that Henry doesn't tell her the truth. She doesn't really recognize Henry anymore, with whom she has fallen in love. Ellen is also surprised that Henry, who is chronically exhausted, can afford an expensive racing horse. But there's a reason for the secrecy, because Henry wants to make his dream come true to win the Grand Prix of Germany. His maxim: Believe in losers too!

Olav Hintz, a retired teacher who loves only himself, needs care as he sits in a wheelchair. The nurse, the single parent Trixi has several jobs to complete and gives the care to her 3 children. Chaos is on.

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Rebecca is undecided about what her future life should look like. On the one hand, she is on the path to becoming a teacher, and on the other hand, she doesn't let go of her passion for making films

The documentary addresses the questions, who are the film industry’s female faces? What are their voices, which experiences have they had, and above all: What do they wish for the future? In an interview format, the documentary focuses on the protagonists and their individual experiences. The ensemble includes nearly 30 actors, writers, directors, and producers. By means of personal conversations, the audience gains an intense and authentic insight into the lives of those working in film. During the filming in the following year, male-diverse participants were also invited to create a multifaceted discourse. The topics include structural and individual issues such as gender equality, power structures, female diversity, and much more. In dialogue with the participants, the documentary looks toward the future: Where are there promising approaches already, where are the opportunities for (self-)empowerment, and how can we initiate change, both individually and collectively?