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Shortly before the celebration of his 95th birthday, Karl Wolter is murdered. Instead of ending their accidental marriage for good on the long-awaited divorce date, Killmer and Kati Biever take up the investigation. The suspects in their case are rather eccentric: the retarded day laborer with the glass eye, a senile chicken baron and Miss Blücher, a housekeeper with an icy stare and a heavy inheritance. During their investigations, Killmer and Kati soon realize that the crime must have something to do with an inglorious event deep in Monreal's past.

The idyll in tranquil Monreal is deceptive: farmer Jobst lies dead in his cesspit, all the clues point to murder. A case for police superintendent Kati Biver and chief inspector Killmer. The latter, however, is rather distracted. The cool cop is suddenly supposed to be responsible for a baby - his baby! Not with him, Killmer thinks, and comes up with an ingenious idea to solve the care issue. He secretly abandons little Marlon outside the police station. Now his colleague Kati has no choice but to look after the little one...

A tall and a small masked man wearing police uniforms driving the local cop car rob 600.000 Euro from a money transport in Eifel town Monreal. Incompetent state inspector Melanie Marschall focuses local police detectives Killmer and Kati Biever, neither of which has an alibi, both had the car keys, even fitting masks where found at Killmer's home. The are suspended, needing to find the -obviously well-informed- real culprits, while precinct colleague Ralf is recruited to spy on them. While Kati's irresponsible grandmother loads further suspicion on them, the cop pair finds several townsfolk and Melanie Marschall in financial need, yet no conclusive clue until a murder raises crucial questions.

We don't have an overview translated in English. Help us expand our database by adding one.

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Agnes and Gregor have had a happy marriage for 15 years. No crises, no affairs, no weariness. They looked for each other and found each other, say their friends Conny and Bernhard, who fight a lot and often. If a marriage is harmonious, it is this one. However, when Agnes became socially involved in addition to her job, the distribution of roles in the family, which had worked well for years, was thrown out of balance. The change in their relationship leads Agnes and Gregor into their first major crisis, which neither of them can deal with. They are shocked to find that they are about to lose love.

Agnes and Gregor have had a happy marriage for 15 years. No crises, no affairs, no weariness. They looked for each other and found each other, say their friends Conny and Bernhard, who fight a lot and often. If a marriage is harmonious, it is this one. However, when Agnes became socially involved in addition to her job, the distribution of roles in the family, which had worked well for years, was thrown out of balance. The change in their relationship leads Agnes and Gregor into their first major crisis, which neither of them can deal with. They are shocked to find that they are about to lose love.

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.