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- 19-year-old Pauline accidentally becomes pregnant from a one-night stand with Lukas, who, as it turns out, is the son of the devil. The pregnancy gives Pauline supernatural powers and an epic battle between good and evil ensues.
- To win back the love of his life, a high school student and his best friend launch Europe's largest online drug business from their teenage bedroom.
- When a small-town con artist joins the local mafia with his manipulative brother, his obsession with balancing his karma gets hilariously brutal.
- Series inspired by real events in the financial world, centers on narcissism, megalomania and double standards.
- A group of hackers powered the darkest corners of the internet from a Cold War-era bunker in a quiet German tourist town.
- A provocative comedy about the difficulties of living a happy relationship. A shoe theft on the ICE forms the prelude to a kaleidoscope of relationships and dependencies between a wide variety of city dwellers.
- Max S. reveals how he built a drug empire from his childhood bedroom in this story that inspired the series "How to Sell Drugs Online (Fast)."
- Sophie Passmann and Tommi Schmitt meet and greet four exciting guests from all areas of popculture every week.
- The ominous life of Donald Stellwag
- Leader Hans shoos his co-conspirators through the final preparations leading up to the revolution. In theory, everything sounds simple. The practice turns out to be more difficult.
- Trüberbook is a thrilling mystery adventure game set in rural Germany in the late 1960s.
- "Gute Arbeit Originals" is A funny YouTube channel with even funnier sketches.
- Charlotte wanted to turn her life around and get out of everything. Out of her job, out of her marriage. Something she only shared with her best friend. Then the global pandemic hits and she is forced to halt and stay inside.
- The Neo Magazine Royale is a satirical late-night show hosted by Jan Böhmermann.
- Bettina Maurer, mayor of a small town, is cut by a car while crossing a street. She shouts insults at the driver before entering the anteroom of a small bank branch to withdraw money shortly before midnight. But then her EC card gets stuck in the machine. At this moment Martin, visiting from Berlin, enters the room. He is also in a hurry and wants to solve the problem at the ATM quickly: So he poke around in the card slot with a hairpin - there is a short circuit. But not only is the machine out of order afterwards, the electronically secured door also no longer opens. And so the two are now stuck and all attempts to get help fail.
- Carolin Kebekus presents her own view of the world
- In the co-working space, programmer Jana is looking for the next big idea - her new colleagues help her, sometimes more, sometimes less. In eight episodes, the comedy series tells the story of whether it works out in the end.
- The unlikely events in people's lives.
- A year has passed since Bettina and Martin involuntarily celebrated New Year's Eve together at the Moosbacher Bank. A lot has happened since then. Bettina has been voted out as mayor and Martin is under more stress than ever in his company. Did the arranged meeting between "Boss-Betty" and "Doofmann" take place? On New Year's Eve, both of them unexpectedly appear at the Moosbach New Year's Eve party in the local gym and immediately get into a conflict with other party guests. A scandal ensues.
- A young family with two children and a much too big Christmas tree, which solitary grandmother asks for Christmas dinner. Four singles trying to fight the coming Christmas feelings with Moscow Mule. Two lonely nerds in front of the PC, a young couple celebrating together for the first time. In addition a Turkish family, which has nothing to do with the whole festival and the postman who rushes with his packages through the Christmas Eve.
- In this stand-up special, comedian Hazel Brugger offers her breezy takes on unruly geese, chatty gynecologists, German bank loans and more.
- OILFIELDS MINES HURRICANES is a road-movie, in which the classical concept of that genre - the quest for and the fixation of the own identity - is lead ad absurdum: Salpa, the traveler, experiences a corrosion of his all-along-multiple identity. This is already founded within the production: 18 authors have taken turns writing the screenplay. The amount and sequence of the scenes correlate with John Cage's organ piece As Slow As Possible. The performance venue of that piece, Halberstadt, is the apparent destination of Salpa's journey. But, arrived, no redemption is waiting; Salpa again finds himself thrown back onto himself and alone. For Salpa's journey each author depicts another fragmented world for Salpa to dive in, and each of them poses him, always confused & disorientated but determined, with the question of his own identity. The further he gets away from the beginning, the more the destination seems to fade away. Estranged Salpa meanders through different possibility-worlds, which don't provide the right answer for his questions, who he is, what is left of him and what he has lost within himself along with the loss of the other. Is Salpa like a migratory bird in a flock, or someone reflecting the relations to his father? Which gender does Salpa claim? What is ascribed to him? What does define him without the other? We experience Salpa's tale through non-stringent and non-causal narrations which unfold web-like over the whole movie: Salpa is constantly looking for contact with his surrounding, fails and enmeshes himself deeper and deeper in his identity which is more and more under deconstruction. Salpa's «companion» is a salp, a primitive fish, which Salpa is carrying as a prosthesis on his lower face. The origin of his prosthesis he finds in Iceland, where to he followed a mysterious tale of a flock of birds which froze to death in the air and dropped on the glacier. During the movie Salpa is testing the possibility of a symbiosis with the prosthesis whilst entrapping himself in more than one discourse around his seemingly lost place in the world. The salp takes on different roles and functions: It serves as an idealistic dialogue-partner, as a connection-tool to the outside, as an alter-ego and as a clumsy chauffeur on the trip which the two have embarked on together. The destination is unknown, but something pushes them forward, maybe the dark pitches, which are omnipresent below the surface, or Salpa's voice from the car-radio? And who gets homesick while watching a maritime documentary, Salpa or the fish? Salpa, the seeker, is a metaphor for the loss of a world, for a destination gone missing without the end of the quest for it.