Leipzig, December 1734: Christmas brings the Bach family together. The first snow has fallen and the children Gottfried and Elisabeth are delighted about the arrival of their older brothers Friedemann and Emanuel. The Thomaskantor has retired to his music room. Anna Magdalena supports her husband, as there are only a few days left and his latest work, the six-part "Christmas Oratorio", must be finished on time. It is awaited with suspicion by the city council and the gentlemen of the consistory, who have long found Bach's waywardness a thorn in their side and fear that, after the premiere of the St. Matthew Passion a few years earlier, the St. Thomas Church will once again be filled with "operatic" music. With the oratorio, Johann Sebastian Bach hopes that he will finally become court composer in Dresden. And, as always, he demands that all members of the family join forces to help him. But differences of opinion are increasingly delaying the completion of Bach's most famous work.
Father and mother are thrilled: So now their teenager son has a girlfriend. And what a fabulous young woman she is! In contrast to his older sister Milli, 17-year-old Franz was previously an introverted, quiet, shy loner. His parents are all the more impressed when he brings home the pretty, self-confident Zoe one night. Zoe quickly finds her way into the heart of Franz’s family. Or is this young woman just telling people what they want to hear because she sees their hidden desires? After an ecstatic night in the clubs of the city of Munich with a little too much drugs, Zoe has disappeared and Franz's heart is broken. He absolutely has to see her again and goes looking for his first great love.
The body of old Theodor Reifenrath is found in Mammolshain in the Taunus. Accident or Murder? Because the safe is open and empty, inspectors Pia Sander and Oliver von Bodenstein start investigations. In the dog kennel in front of the house, they make a horrifying discovery. Alongside to a nearly starved dog, she finds human bones in the ground. Three women's bodies are recovered by the forensic experts. But who are the murdered women? The dead man and his deceased wife Rita had used the large house by the lake as a kind of children's home and had raised many foster children here over the years. However, the two were not loving foster parents. Rita has been missing for many years. Probably suicide, but her body was never found. The investigators are concentrating on the foster children, who are now all grown up and in the middle of life. The pattern of killings is striking: Apparently the perpetrator always kills on Mother's Day. And that day is near.
When Hanna (Fanny Krausz) unexpectedly inherits half of her deceased grandmother's farm in Lower Bavaria, the young woman's life is turned upside down. Because the testamentary conditions have it all! She has to run the farm for four weeks with her cousin Max (Daniel Gawlowski) and worse: spend every night there - otherwise everything goes to church. A bad time, because Hanna is about to step into Alex's Munich coffee bar. And it just so happens that Alex (Matthias Gärtner) is also the man of her dreams. Hanna throws herself into adventure and tries to master the balancing act between town and country. But the longer she is in her old home, the more she realizes her true longings. She doesn't just uncover a family secret,
When 22-year-old Rainer Werner Fassbinder storms the stage of a small, progressive theatre in Munich 1967, and seizes the production without further ado, nobody suspects this brazen young rebel to become one of the most important post-war German filmmakers. Despite early setbacks, many of his films breakout at the most renowned films festivals and polarise audience, critics and filmmakers alike. His radical views and self-exploitation, as well as his longing for love, have made him one of the most fascinating film directors of this time.
Angela Merkel's decision in autumn 2015 to open the borders for refugees split the country - some praised the moral stance, others criticized the surrender of sovereignty. Yet what would appear to be well-planned activity is in reality a policy of muddling along, chance, trial and error. The Driven Ones is a chronicle of the refugee crisis which shows that the political actors are being driven along, crushed between self-imposed constraints and events that have spun out of control.