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R. I. S. – Die Sprache der Toten is a German television series broadcast by Sat.1 since 2007. The R. I. S. in the title is an acronym for Rechtsmedizinische Investigative Sonderkommission, referring to the fictional police investigation unit that is the focus of the series. The series, a crime drama, is a remake of an Italian television series entitled RIS Delitti Imperfetti.The first season ended on 10 June 2007. The second and final season with another 13 episodes began airing 15 November 2007.

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Unknown assailants threaten the life of British scientist Dr. Ronald Fergusson. Only by chance does the attempt to shoot him in the street fail. Fergusson, who does not believe in police protection, hires private detective Weber for his personal safety. And time and again, the headstrong scientist makes it difficult for his bodyguard to fend off further assassination attempts. Despite being expressly forbidden to do so, he leaves the house. Full of bad suspicions, Weber looks for his client in the morgue, but Vivian, Fergusson's employee, doesn't know the dead man...

England, 19th century: Seth Pilaster runs one of the most influential banking houses in the kingdom. When Hugh Pilaster, the capable and talented youngest member of the family, realizes that he has no chance against his less talented cousin on the career ladder due to family circumstances, he tries to drown his frustration in the dive bars of London's working-class districts. There he falls in love with poor Maisie. However, as he sees no prospects for either his professional future or his love for Maisie, he first goes to America, only to return six years later as a successful banker. To make matters worse, Maisie is now married to Hugh's best friend and the balance of power has also changed fundamentally.

"Die Kinder der Flucht" is a three-part German docudrama that portrays the harrowing experiences of children and young people during the final months of World War II and its aftermath in Eastern Europe. The series weaves together dramatized reenactments, archival footage, and poignant interviews with real-life survivors to tell three distinct yet interconnected stories of displacement, survival, and resilience.

Judith, an investigative journalist, begins to unravel a murder mystery that implicates one of her current lovers. When she checks out a peep-show business on the seedy side of Hamburg as part of the investigation, she runs into a former boyfriend who used to be a psychiatrist but is now an arms dealer. Judith is lured back into his fold, cheating on her current lovers, one of whom is also a shrink. Despite her profession, or perhaps because of it, Judith tends to blend fantasy and reality, so small wonder she is attracted to psychoanalysts. But, two shrinks and a murder prove more than Judith can handle. 　　"Valie Export's third feature is an anti-romance in which the heroine, oscillating between two relationships, 　　gradually discovers that both are impossible, not because the subjective processes of "love" are defective, 　　but because the objective, social matrix in which both her male lovers operate is corrupt, immoral, murderous: 　　in this film, the male world and its power structures cancel the possibility of love beyond the matter of sexuality, 　　that is the objectification of love. Export makes use of techniques drawn from her earlier experimental cinema, 　　video and conceptual photography to expand the possibilities of narrative feature filmmaking and to disintegrate 　　some of its overdetermined conventions." 　　Video control in subway stations and in street traffic, tapes and cameras are very important 　　for the structure of the film. Mediocrity, hypocrisy and violence are the film's main themes. 　　Valie Export deals with them on private, social and media levels, adhering to the techniques 　　of video avant-garde.