Freundinnen - Alle für eine

Juvenile detention or retirement home: That's the choice 17-year-old Malu is faced with after she's been caught stealing again. In order to save the girl from imprisonment, her aunt Johanna agrees to take Malu in with her until she has completed her social service in a retirement home. The rebellious half-orphan, whose single father Paul has hardly any time for her as a pilot, initially finds being placed with her aunt just as restrictive as a stay in prison.

It should be a relaxed holiday with her daughter Nora - at least that's how the single mother Maren Bogner imagined it: a journey in the footsteps of Winnetou, a ride to the breathtaking locations of the legendary Karl May films, a holiday of discovery in Croatia. Although Nora doesn't share her mother's enthusiasm, a little variety never hurts. They are accompanied by Nora's best friend, the successful but stressed businesswoman Gabriele Hochmann with a GDR past. Arriving at the starting point of their guided "Winne Tour", the three women make the acquaintance of Elisabeth zu Hallbach-Süren, who, together with her young assistant Simone Lehmann, has also set out for the scenes of German cinema nostalgia.

Hilla grows up in the 60s, her father is a worker and her mother a charwoman. But she wants a different future for herself, wants to study. After a violent incident she needs a strong shoulder. Who of her life will do?

Award-winning filmmaker Byron Hurt explores what it means to be a Black man in America. Traveling to more than fifteen cities and towns across the country, Hurt gathers reflections on Black masculinity from men and women of a variety of socioeconomic backgrounds and a host of leading scholars and cultural critics. What results is an engaging and honest dialogue about race, gender, and identity in America. Features bell hooks, Michael Eric Dyson, John Henrick Clarke, Kevin Powell, Andrew Young, Dr. Alvin Poussaint, MC Hammer, Jackson Katz, and many others.

A veteran actress comes face-to-face with an uncomfortable reflection of herself when she agrees to take part in a revival of the play that launched her career 20 years earlier.

Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.

Marie violates tradition in a small German town of Lauscha, to become the first female glassblower in in 1890. Her glass ball decorations find a new market in America.

When her daughter is kidnapped in Belize and held hostage to be used for human organ trafficking, Kate Johnson goes on a crusade to infiltrate the cartel and rescue her.

As a nun, Katharina von Bora lives the life destined for her until she comes into contact with a completely new world of thought in the early 20s through the writings of Martin Luther. She flees with some of her co-sisters and comes without legal status, without income and rejected by her family to Wittenberg, where she meets Martin Luther personally. Katharina decides to marry the reformer and, as his wife, becomes a respected housekeeper, an equal interlocutor and the mother of their children together.