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Kosmo (Aaron ALTARAS) and his friend Klaus (Clemens SCHICK) were once one of the hottest techno producers in the Berlin club scene. But then a gig went wrong, and Kosmo's dream of being a hot DJ was over. After years, Troy Porter (Hieroglyphic BEING), Kosmo's idol, was back playing at his favorite club. And Kosmo is doing everything he can to deliver his vinyl tracks to his idol. To do so, Kosmo embarks on another hellish night in the purgatory of Berlin's underground. But soon, in the hustle and bustle of drugs and ecstatic bodies, he loses the record that could mean his future...

Similar to Dante's Inferno, the audience experiences a wild club night with Kosmo in Berlin, with thumping music, various glitches, and tongue-tied adventures. Rarely can one experience German-language cinema as raw and engaging as in this film by Nikias Chryssos and Viktor Jakolevski. It's not without its embarrassing aspects, such as when all sorts of addictive substances are thrown around. But that's also what cinema is for: to witness things one would rather avoid in real life.

Unfortunately, there are also some typical shortcomings of German-language cinema to be lamented: There are whispers that German film star Götz George would have enjoyed it. When it comes to sound and sound design, German filmmakers still have some catching up to do. And yet, something quite unusual has been achieved here: a small monument to the Berlin club scene, which resonates worldwide with international partygoers, is created, which itself functions like a trip into the hellmouth of Berlin's nightlife. This film should certainly find its international audience. One would certainly hope so!

Oh yes, love doesn't miss out either. In the fray, Kosmo meets Alex (June Ellys MACH), leading to one of the wildest love scenes seen on the big screen in recent years.

This film certainly isn't for all audiences, but this magnificent plunge into Berlin's nightlife won't be forgotten anytime soon.

A documentary by the German television station ARD (lead: Hessischer Rundfunk from Frankfurt am Main) about an important and inherently very interesting topic, but the cinematography is too uninspired!

It was revealing, however, that Alexander Karp, co-founder (along with Peter Thiel) of the surveillance company Palantir, wanted to focus on Rainer Werner Fassbinder's film MARTHA with Margit CARSTENSEN and Karlheinz BÖHM (as a fitting example of the persistence of Nazi ideology in West German society at the time) in his first planned and then abandoned dissertation while studying in Frankfurt am Main.

The German (documentary) filmmaker Klaus Stern, who lives in Kassel in northern Hesse, probably knew Alexander Karp from their time together in Frankfurt and thus gained surprisingly close access to the now billionaire entrepreneur Karp.

This film is, above all, an interesting contemporary document, the significance of which will probably only be fully appreciated in a few years. The possibilities that Palantir can probably already offer its customers remain very vague. However, it is clear how important Palantir's services already are worldwide.

A very interesting, but also problematic in parts, film about the very specific grief process of an unsuspecting father. Seven years after the original film LONGING (2017), which was shot in Hebrew, Israeli director Savi GABIZON was able to make an English-language version for the North American cinema market.

Richard GERE plays the wealthy businessman Daniel, who suddenly learns that he has had a son for 19 years, but that he has just died in a car accident. He travels to his deceased son's hometown and learns a lot about his life through encounters with various people. Daniel often acts intrusively, presumptuously, and embarrassingly. This, of course, fits wonderfully with a character who is irresponsible, emotionally traumatized, and simultaneously lacking in distance. Some plot lines are difficult to bear. One example: Daniel's son was madly in love with his French teacher (Diane KRUGER), whom he stalked day and night in a transgressive manner. German actress Diane Kruger plays this teacher, whose professional dedication is misunderstood, very vividly and convincingly. In a dream sequence, however, the film depicts this teacher larger than life as a sexual projection screen for father and son, which comes across as extremely embarrassing and inappropriate. Similar borderline scenes occur elsewhere in the film, which detracts from a better rating of this otherwise well-made film.

As a portrait of a thoroughly typical contemporary who serves as a symbol of irresponsibility, inability to commit, and lack of distance, the film is quite successful. However, the director doesn't tell it that way, as he still shows too much sympathy for his main character. Thus, the film about the misguided grieving process of a questionable personality remains a mixed pleasure.