Marianne, a thirty-something photographer, begins to look at things anew after discovering that she is pregnant. Then things go haywire when a model dies after a photo shoot. A hidden world of darkness and disorder, mistrust and lies breaks into the open. Told as a web of interlocking anecdotes, Headshots tells the course from fragile love to betrayal, from complicity to self-annihilation, and back through twists that are comical, poignant, and ridiculous in a Berlin you have never seen before.

Bruno Stroszek is released from prison and warned to stop drinking. He has few skills and fewer expectations: with a glockenspiel and an accordion, he ekes out a living as a street musician. He befriends Eva, a prostitute down on her luck. After they are harried and beaten by the thugs who have been Eva's pimps, they join Bruno's neighbor, Scheitz, an elderly eccentric, when he leaves Germany to live in Wisconsin. In that winter bound, barren prairie, Bruno works as a mechanic, Eva as a waitress. They buy a trailer. Then, bills mount, the bank threatens to repossess the trailer, Eva wants privacy, and inexorably, the promise of a new life deserts Bruno.

Niko is having a tough morning. He’s broken up with his girlfriend, been cut off from his monthly allowance, and was just declared “emotionally unstable” by a court-appointed psychologist. If only he could find a decent cup of coffee. Painting an eventful day-in-the-life of a twenty-something law school dropout, A Coffee In Berlin follows Niko as he drifts through a series of absurd, funny and, ultimately, life-changing encounters with the people and city around him. Photographed in timeless black and white and enriched by a snappy jazz soundtrack, Jan Ole Gerster’s vibrant and charming debut, which swept the German Film Awards in 2013, is a slacker comedy with a poignant center, and a love-letter to the city of Berlin and Generation Y.

When Myriam, a pretty, thirty-something woman, discovers her husband's frequent visits to the brothels in Holland, she toys with the idea of giving prostitution a try. As she starts moonlighting at the local bordello, she quickly enters a secret world filled with new sexual discoveries.

After being abandoned by their Nazi parents at the end of World War II, five German siblings embark on a harrowing journey across their war-torn country. Led by the eldest, 14 year-old Lore (Saskia Rosendahl, in a luminous debut), the children are forced to confront their parents' actions and the reality of the new world in which they find themselves. When the group encounters the mysterious Thomas, a Jewish refugee, Lore finds herself racked by conflicting emotions - her innate contempt for his kind and her burgeoning sexual desire. Lyrical, haunting, and unforgettable, LORE is at once a strikingly unique coming-of-age tale and an unforgettable look at the human legacy of the holocaust.

In this second installment, Ulrich Seidl explores what it means to carry the cross. For Anna Maria, a single woman in her 50s (and sister of PARADISE: LOVE's Teresa), paradise lies with Jesus. She devotes her summer vacation to doing missionary work, so that Austria may be brought back to the path of virtue. On her daily pilgrimage through Vienna, she goes from door to door, carrying a foot-high statue of the Virgin Mary. When her husband, an Egyptian Muslim confined to a wheelchair, comes home after years of absence, her life is turned upside down. FAITH recounts the stations of the cross of a marriage and the longing for love.

The feared bandit Cobra Verde (Klaus Kinski) is hired by a plantation owner to supervise his slaves. After the owner suspects Cobra Verde of consorting with his young daughters, the owner wishes him gone. Rather than kill him, the owner sends Cobra Verde to Africa. The only white man in the area, Cobra Verde finds himself the victim of torture and humiliation. Later, he trains soldiers in a rebel army. Far from home, Cobra Verde is on the edge of madness.

A small village is renowned for its "Ruby Glass" glass blowing works. When the foreman of the works dies suddenly without revealing the secret of the Ruby Glass, the town slides into a deep depression, and the owner of the glassworks becomes obsessed with the lost secret.

Footage shot in and around the Sahara Desert, accompanied only by a spoken creation myth and the songs of Leonard Cohen.

It is 1942 and the German submarine fleet is heavily engaged in the so called "Battle of the Atlantic" to harass and destroy English shipping. With better escorts of the Destroyer Class, however, German U-Boats have begun to take heavy losses. "Das Boot" is the story of one such U-Boat crew, with the film examining how these submariners maintained their professionalism as soldiers, attempted to accomplish impossible missions, while all the time attempting to understand and obey the ideology of the government under which they served. © 1981, 1985, 1997 Bavaria Atelier GmbH, © 1981 Radiant Film. All Rights Reserved.

Vitus is a 12-year-old boy who almost seems to be from another planet - he has hearing like a bat, he plays piano like a virtuoso and studies encyclopedias. No wonder his parents begin to anticipate a brilliant future for him as a classical pianist. However, the daily pressure of hours of musical practice, his over-protective but well-meaning mother and his father's precarious financial situation lead the boy to seek refuge at his eccentric grandfather's house. Vitus and his grandfather's shared love of flying, mischief and adventure offers Vitus an opportunity at a normal childhood - something the burden of his talent had previously prevented him from. When Vitus employs a ruse pretending he's been robbed of his talent, his future as a piano virtuoso falls at risk. © 2006, 2007 Vitusfilm GmbH. All Rights Reserved.

The inhabitants of an institution in a remote country rebel against their keepers. Their acts of rebellion are by turns humorous, boring and alarming. An allegory on the problematic nature of fully liberating the human spirit, as both commendable and disturbing elements of our nature come forward. The film shows how justifiable revolt may be empowering, but may also turn to chaos and depravity. The allegory is developed in part by the fact that the film is cast entirely with dwarfs.