Eleven moving dates, eight friends: Philipp, Wiebke, Jessica, Maria, Swantje, Michael, Thomas, Dina – all in their twenties and mutually lonesome. And always searching: For a new city, a new job, an own apartment, a new, or even an old love. The search is never-ending, and so they repeatedly find themselves at a ritual gathering: someone moving. Boxes are shifted from one side of Berlin to the other, or the length and breadth of Germany, from one abode to the next as one life is exchanged for another. In 3 ZIMMER/KÜCHE/BAD, director Dietrich Brüggemann portrays existences in which relationships, social networks and backdrops are in a constant state of flux; where best friends are the only, and therefore the most valuable constant. Humorous sketches of the self-conception of a generation for whom moving has become the symbol of a life on the go.

Each year in June, Bavarian housewife Elke Richter visits family in Halle, in the GDR. There she meets family friend Gregor Pohl, a married carpenter, and they begin having an affair. After her family stops the annual visits due to the husband's promotion in the communist regime, the adulterous couple arranges to meet on other holidays. After Gorbachev's Glasnost leads to the fall of the Iron Curtain, everything changes, and Gregor chooses to emigrate to Canada.

Charleen is 15, melodramatic, mega depressed, and Kurt Cobain’s biggest fan. Her best friend Isa is getting really boring, her dad is out of the picture, and her mom has hooked up with her biology teacher. Even though she has an apprenticeship preparing bodies for funerals, which is pretty cool, her musical idols are all dead. It’s about time Charleen was, too.

A mysterious phone call puts Kluftinger and his colleagues Maier and Hefele on the trail of a brutal series of murders. A serial killer who cuts out the hearts of his victims and drapes them macabrely at the crime scene is up to mischief in the Allgäu. There is hardly any time for Kluftinger's own worries, the chest pains that are making his life hell.

An African-German Author loses his memory and is used by a modern National Socialist Party as promotion-figure for more political power over Germany.

Ferdi thinks he's ugly – but likes the fact Jona is interested in him. Maybe because she's blind. What Ferdi doesn't suspect: She's just pretending to be blind to be able to live cheaply in subsidized housing. How long can she maintain her charade? Can love, which is supposed to make you blind, even work out that way? Director Tom Lass takes a closer look, shooting with blind actors and old Berlin buddies, acting the lead himself – paying tribute to a way of life beyond our way of seeing the world.

Jens Lehnert sends his grumpy consultancy partner and key employee Carla Schneider to audit the old-fashioned mint farming of a collective in Saxony. In an attempt to coax a probably negative report, unwitting the assessor is female, she's lodged with its director Simon Vorberg and his charming family, but it alas starts on a frightening tone. Gradually, she's charmed by the village and especially the Vorbergs, alas unlike the enterprise, yet is inspired by the inventive villagers' fair stalls.

16-year-old Jonas is in love with his best friend Isy, but she likes older boys. When Isy takes drugs at a party and loses control in the intoxication, Jonas friends Lenny and Martin make fun of it with Jonas. But then the situation escalates and the three boys rape the unconscious girl.

German film.

After 13 years, Sonja and Marc have separated. The love was lost to them like other people a stick or hat. To sell their weekend home, the two embark on a final trip together. Along the way, they realize that by far not all is said and that they still feel connected to each other - despite all the injuries and blame. When the planned sale is delayed, they have to spend the night in their house. It is their last chance to find answers to all the questions that are better asked late than never.

A Russian emigrant in Scandinavia sends her son to school, but he does not return. In search of a child, she finds herself in a dead end: according to the laws of the "new" juvenile justice, her son is the property of the state.

Rebecca and Bruno meet in a bar, in a not particularly happy moment of their life, and they start dating. They consider themselves just friends and talk to each other about everything. But if Rebecca stops being so worried about what the bourgeoisie might think and say, and if Bruno realizes he can't live without Rebecca, they will both understand reality.

Lore leads her four younger siblings across a war-torn Germany in 1945. Amidst the chaos she encounters a mysterious refugee who shatters her fragile reality with hatred and desire.