Years ago, Arzu, Türkan, Nalan, and Nazan used to play soccer together at the Ağrı Spor club in Kreuzberg, Berlin – the first Turkish women’s soccer club in Germany. Spielerinnen portrays the women today. What happened to them since Aysun Bademsoy’s first two films about the soccer players, called Mädchen am Ball (1995) and Nach dem Spiel (1997)? How are they doing nowadays, what are they up to, what do their relationships to each other look like? Have they fulfilled their desires, what do they think about their daughters, and what do their daughters think about social media, boys, family, work, religion, and belonging?

How do you kill yourself if you want to go to heaven after death, but suicide is a mortal sin? This is a very practical challenge for unenlightened peasants in the 18th century - Veronika Franz and Severin Fiala transform it into a visually stunning hellride into the history of the feminine. Based on historical court records, Des Teufels Bad shows that religion and the human body are only legal systems of different kinds. The fear of death comes alongside the fear of God's punishment and of his worldly helpers, the masters of the Holy Inquisition.

And who is to blame for everything? Possibly the devil... Enlightened horror cinema from Austria.

A movie about the violence of fear and the fear of violence. A helicopter flight transports you to Coppola's Vietnam, but the apocalypse takes place on the inside: Ulrike and Gudrun are in jail, later joined by Andi and Jan, making you wonder whether this is a '68ers' flat share, a cult or just isolation torture. There are absurdities and paranoia on all sides: in the bureaucratic correctness and incomprehension of the state, in the relationship terror of the inmates and the petty games that everyone plays with each other.

Niki shot the film in the original RAF cells in Stammheim and plays on media memories, clandestine romanticism and sheer voyeurism. That's what makes cinema great!

Games and malice are equally important in this family story: The father deals with dementia, going in ever smaller circles with his walker. His two sons leave to unlearn fear but never manage to escape the old man’s spell.

“Rimini” meets “Sparta”; a place of relaxation meets a place of discipline, two territories of happiness and states of emergency. The two films directed by Ulrich Seidl merge to create a third, unique work: This Rimini reminds as little of Ferragosto as Sparta does of the Thermopylae, yet both myths and their imagery are always present.