Armin Petersen

The film begins in a Berlin club with Trude Berliner singing as gangsters plan a burglary at a Hamburg hotel. At the hotel, Orbeliani leads the band while his wife Olga sings their son Jascha to sleep. During the heist, Jascha wakes, screams, and is knocked down. The gangsters flee to Berlin with stolen jewels and the unconscious Jascha. Homolka, one of the gangsters, refuses to abandon the boy, nurses him back to health, and pretends to be his uncle, claiming his parents are on an American tour. Homolka develops motherly feelings, facing ridicule from his friends and Trude Berliner.

Romantic pursuits seem to end only in tragedy at the Royal Circus where three men fall for the trapeze artist Ziska.

Critics of the time called "Milak, der Grönlandjäger" the German answer to Robert Flaherty’s "Nanook of the North" (1922). Filmed largely on location in Greenland and Norway’s Spitsbergen archipelago, the film combines impressive landscape footage with ethnographic observation.

Crime movie about a mysterious underground cult culminating in a prison revolt.

No description available.

A dedicated firefighter is forced to retire after an injury.

A tale of cheating in both love and business.

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On the Dutch North Sea coast among fishing families. the wholesaler and ship owner Bos is only interested in profit and, out of pure greed, he risks the lives of his fishermen, who set out to sea to catch herring for him. One of his ships, a veritable coffin, is to set sail once again, and Bos has the rickety vessel patched up as best he can. To avoid losses in the event of a likely shipwreck, he takes out high insurance on the sloop. For old mother Kniertje Vermeer, this is no reason to prevent her sons Geert and Barend from signing on to the ship. An experienced old shipwright warns everyone not to board this "floating coffin," but no one heeds his well-intentioned warning.

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Young Steffi goes to the city to take a job in a factory and falls for the son of the owner.

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The film "Das geht jeden an" focuses on the cultural riches of the Westphalia region. In addition to towns and landscapes, the film shows well-known landmarks such as the Hermann monument. The film is a child of its time and refers to the blood-and-soil ideology of the National Socialists in its depiction of a supposedly idyllic rural life. At the same time, the film is intended as an advertising film. In fact, the production was commissioned by the Westfälische Provinzial-Feuersozietät to draw attention to fire hazards that could destroy the cultural assets shown in the film.