Die Kinder vom Alstertal is a German television series.

A woman disappears mysteriously in the middle of a forest. Police begins his search, in addition to her husband, a forensic expert. When officers asked to provide them with a photograph of the missing, he discovers that someone has entered her house and stole all the images of women.

Police officer Lena Jörning is confronted with the first corpse of her professional career and recognizes her sister, whom she has not heard from for 12 years. The case raises many questions: When did Evelyn return? What roles do Evelyn's husband Claas and Lena's fiancé Bruno play in the death? The criminal investigation team arrives to take over the case. The investigation becomes a dramatic journey into the past for everyone involved, which - until then unrecognizable to Lena - overshadows even the present of the entire village.

The film describes the activity of an ABV of the People's Police in its section in East Berlin. A mixture of “positive” characters from the beginning, the extensively staged “owl”, who is introduced as a criminal and over the course of time, especially due to the influence of the ABV, develops into a good citizen, and incorrigible characters, with whom the ABV fails with its extensive attempts at rehabilitation and who are arrested after having committed again offenses.

A well documented re-enaction of the July 20th, 1944 assassination attempt against Hitler, aka Operation Valkyrie.

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A crime comedy directed by Peter Weck. The movie follows "Geliebte Gegner" (1998).

Spring 1945: the Allies are outside Hamburg. In front of a movie theater, Lena Brücker meets Hermann Bremer, a marine assigned to the 'final battle on the home front'. After a night of love, Lena offers to hide the young man in her apartment during the last days of the war. This marks the beginning of a life-threatening love adventure for both of them, which they must keep secret from the rest of the world. While Lena blossoms over the next few weeks, Hermann suffers from his confinement and the constant fear of being discovered. Nevertheless, Lena will not tell her lover that the war is over so that she can spend as many days as possible with him on their shared 'mattress island' while everything changes outside.

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.

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.