The best Felix Hellmann’s movies

When 22-year-old Rainer Werner Fassbinder storms the stage of a small, progressive theatre in Munich 1967, and seizes the production without further ado, nobody suspects this brazen young rebel to become one of the most important post-war German filmmakers. Despite early setbacks, many of his films breakout at the most renowned films festivals and polarise audience, critics and filmmakers alike. His radical views and self-exploitation, as well as his longing for love, have made him one of the most fascinating film directors of this time.

Where shall we put grandma? Her permanently anxious and stressed daughter, Marie, knows exactly where: the neighbourhood’s idyllically situated retirement homem where she can find friends of “her own age”. But Granny has other ideas: She wants to see the Pope in Rome, and no one can stop her plan. She wants to finally confess a troubling sin to the highest possible power. She resolves to make the journey alone, and ends up one day on the doorstep of her granddaughter, Martina. What she doesn’t know is that Martina has a secret too, and that a private audience with the Pope is virtually impossible for mere mortals. Together with sly bon vivant, Lorenzo, the three set off on an adventure – but their attempt to receive a Papal blessing almost ends in disaster.

Based on explosive investigations, the thriller "Meister des Todes" ("Master of Death") tells of a German arms manufacturer and their questionable weapon exports to Mexiko.

An almost bombproof method of staying single is called "speed dating". 18 people participate in such an event. Nine men and nine women are sitting opposite each other in order to sell optimally under the pressure of time and to find a partner. They are looking for a date - and have nothing else in common. They talk about allergies, cappuccino, consumer behavior, buses and designer clothes: the list of serious embarrassments is long. Yet none of the lonely hearts has given up the hope of romance.

Angela Merkel's decision in autumn 2015 to open the borders for refugees split the country - some praised the moral stance, others criticized the surrender of sovereignty. Yet what would appear to be well-planned activity is in reality a policy of muddling along, chance, trial and error. The Driven Ones is a chronicle of the refugee crisis which shows that the political actors are being driven along, crushed between self-imposed constraints and events that have spun out of control.

When Hanna (Fanny Krausz) unexpectedly inherits half of her deceased grandmother's farm in Lower Bavaria, the young woman's life is turned upside down. Because the testamentary conditions have it all! She has to run the farm for four weeks with her cousin Max (Daniel Gawlowski) and worse: spend every night there - otherwise everything goes to church. A bad time, because Hanna is about to step into Alex's Munich coffee bar. And it just so happens that Alex (Matthias Gärtner) is also the man of her dreams. Hanna throws herself into adventure and tries to master the balancing act between town and country. But the longer she is in her old home, the more she realizes her true longings. She doesn't just uncover a family secret,