Wolfgang Längsfeld

A Finnish taxi driver in Berlin gets in over his head when he accepts a fare from two men with briefcases full of money stolen from ruthless gangsters.

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Berlin Film Fest 1984. The best place for every cinema fan. Everyone wants to be in on the festival, but that may be really difficult, if one has no accreditation. Also Journalist Matthies gets to know the rules of being in or out when he wants to see a screening and is not welcome. Thus he watches an old German silent flick which he is barely interested in. The next day the newspapers are full of reports about a newly discovered German masterpiece from the silent era. It seems that Matthies had luck. He just saw *the* film everybody is talking about now. Also everybody is speculating about its director, who remains unknown. When Matthies talks to Ackrewa, an old befriended projectionist, about the film, the latter seems to recall the name of the director. Matthies decides to research the case. An odyssey into film-history begins and if it is successful Matthies will come up with a top story.

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In 1978, Peter Przygodda, editor of Wim Wenders‘ films, Reinhard Hauff and Hans W. Geissendörfer, together with his Brazilian colleague Braulio Tavares Neto and Martin Schäfer at the camera, filmed the long-distance truck drivers on their journeys with heavy goods vehicles and thus obtained first-hand information. In the course of the trucker film wave ('Convoy') of the late 70s, his film was released in cinemas. Trucker life appears as a social phenomenon far removed from the romance and hero myths surrounding the adventure of the highway.

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A rare gem of cinematic storytelling that weaves docudrama, fictional reenactment, and experimental photography into a powerful, reflective work on the early days of German cinema. The film tells the story of the Skladanowsky Brothers, the German-born duo responsible for inventing the "bioskop", an early version of the film projector.

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An orchestra plays in harmony until things start going south - the three movements of Enjott Schneider's piano concert are an analogy to creation, destruction and possible reconstruction of nature by mankind.

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The year is 1997, and World Peace seems to have come, with most classic weapons of mass destruction having been abandoned. However, orbiting the Earth there is the European/American space station FLORIDA ARKLAB, capable of controlling the weather at any location on the planet underneath. A civil project by nature, it might be abused as an offensive weapon, since it could deliver devastation to any potential adversary simply by creating natural disasters such as storms and floods. No wonder the space station soon becomes the central point in rising political tensions between East and West, next stop World War 3 (as indicated by the tagline "The end of our future has already begun"). We follow the main protagonist Billy Hayes, an astronaut aboard the station, as he wades through a plot of secrecy and sabotage trying to tell friend from foe in the process.

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