"Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb." 　　-- Harun Farocki 　　"Architects at work: a priori nothing lends itself better to cinema, nothing is more graphic than shots that alternate between the drawing and the built structure, between the two-dimensional plan and the three dimensional result. Yet this film, with its corporate-sounding title, shot over three months in a large Berlin-based firm abandons this clarity to instil a generalised doubt — not so much about the value of those it films as about its own critical viewpoint. Certainly, it is no trifling matter that in one of their on-going projects (a Virtual Reality Centre in Laval), the architects are trying to merge the building into the landscape: the invisibility justified by the end use of the building operates as a clue to the fact that, in architecture, during the design phase there is nothing to see, and that actual construction is less a matter of a change in scale than a sudden, demiurgic leap where there is no going back. In this group portrait, the creators appear both as master rhetoricians and children playing with materials and colours. Through their changing opinions, what Farocki is questioning is nothing less than the relationships between word and matter — which inevitably finds a mirror of cinema in the renewed mystery of architectural art: producing form from discourse." 　　-- Charlotte Garson, Cinema du Reel

"Three months in an architects’ firm in Berlin. From the architecture down to the tiniest door handle, a questioning of matter and the verb." 　　-- Harun Farocki 　　"Architects at work: a priori nothing lends itself better to cinema, nothing is more graphic than shots that alternate between the drawing and the built structure, between the two-dimensional plan and the three dimensional result. Yet this film, with its corporate-sounding title, shot over three months in a large Berlin-based firm abandons this clarity to instil a generalised doubt — not so much about the value of those it films as about its own critical viewpoint. Certainly, it is no trifling matter that in one of their on-going projects (a Virtual Reality Centre in Laval), the architects are trying to merge the building into the landscape: the invisibility justified by the end use of the building operates as a clue to the fact that, in architecture, during the design phase there is nothing to see, and that actual construction is less a matter of a change in scale than a sudden, demiurgic leap where there is no going back. In this group portrait, the creators appear both as master rhetoricians and children playing with materials and colours. Through their changing opinions, what Farocki is questioning is nothing less than the relationships between word and matter — which inevitably finds a mirror of cinema in the renewed mystery of architectural art: producing form from discourse." 　　-- Charlotte Garson, Cinema du Reel

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Jürgen Stoll is not only a Filou and life artist, but the darling of many women. When the marriage swindler is given the choice, prison in the GDR or a career as "Romeo" in the FRG, he decides to go to the West. Stoll now plays in the big game of secret agents until he realizes that the Stasi still has very different plans with him.

The manager Josef Micklitza found a body with a gunshot wound in the Dortmund harbor area late in the evening. The dead man is his financial advisor Claus Lembach.

Jürgen Stoll is not only a Filou and life artist, but the darling of many women. When the marriage swindler is given the choice, prison in the GDR or a career as "Romeo" in the FRG, he decides to go to the West. Stoll now plays in the big game of secret agents until he realizes that the Stasi still has very different plans with him.

Divorce lawyer Peter Ullrich’s seemingly perfect life shatters when his wife Katja suddenly leaves with their children. To shield his reputation, he hides the split and asks his clerk Thomas - himself reeling from family turmoil - to care for the kids. Amid comedic and touching moments, Thomas bonds with Peter’s children while both men grapple with love, loss, and unexpected emotional upheaval.

A show about two Bavarian police officers, Franz Hubert and Johannes Staller, who sometimes work a bit differently. Where Franz wants to follow regulations, Johannes likes to do things his own way.

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It is 1944 and Reich Minister of Propaganda Joseph Goebbels narrowly escapes an assassination attempt on the way to Obersalzberg. It is whispered to him that his rival Heinrich Himmler is the mastermind and that he has also hidden a double of the propaganda minister. Goebbels sets off immediately. He meets his double, Harry Geduldig, in a mysterious fortress. There is a mix-up. The real Goebbels remains a prisoner in the fortress, while the fake one deceives the guards and escorts and frees his great love Grete Zipfel. At a party meeting in Nuremberg, the people cheer him on. But then the journey takes him into the lion's den: on the Obersalzberg he meets Hitler and finally "his" wife Magda. Harry risks everything to save Grete.