Siblings Mareike, Dietrich and Felicitas Reber can hardly believe their eyes when, after an absence of 50 years, their father Xaver, who was thought to have disappeared in Argentina, suddenly turns up on their doorstep - penniless, without a pension or health insurance and with nothing but his toothbrush in his luggage. Attempts to drop him off at the social welfare office, in a retirement home or at a highway service station fail - and so, one by one, the hard-hitting Xaver wanders through all the apartments, causing quite a stir in the families, partnerships and work of his children. It turns out that the three siblings are also in a bit of a mess, and it doesn't take long for them to realize that their freewheeling father isn't their biggest problem...

In the unworldly village of Dunkelhäuser in Saxony, the clocks tick a little differently than in the rest of the country: the nature-loving farmer goes about his daily work in his Adam costume, while the cow eats comfortably from the gutter and dog and master help themselves to lunch from the same plate in splendid harmony.

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Patriarch and entrepreneur August Manzl is terminally ill. As his four grown-up children are all spoiled and sluggish, he comes up with a rather cynical idea to determine the future leader of the families empire: whoever of his children shows the courage and willpower to end his suffering within the next week will become the sole heir - and simultaneously proof the skills necessary to succeed in a modern business world. Between the children a murderous competition evolves.

A persona inspired, close to Dogme95 ruled circular narrative. A young couple from the middle class avoids relationship issues and will rather discuss their first world problems in their minimalist architect cabin in Fjord Norway.

Reinhold Schünzel is one of the most sought-after actors and directors of cinema of the Weimar Republic. When the National Socialists come to power in 1933, he just releases his legendary gender comedy “Viktor and Victoria“. Despite his Jewish faith, Schünzel is under the special protection of Hitler and can work unhindered due to a special permit. But Schünzel's days in Germany are also numbered.In his sparkling and pointed artist portrait, director Hans-Christoph Blumenberg tells about the rise and fall of Reinhold Schünzel. The grandiose Peter Fitz mimes a charming, witty and ambitious director. By letting some performers play several roles, Blumenberg cleverly illustrates the recurring conditions with which Reinhold Schünzel faces everywhere. Schünzel's irony, language joke and sophistication in particular congenially transfers Blumenberg to his film.

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