Polish socialist and Marxist Rosa Luxemburg dreams about revolution during the era of German Wilhelminism. While Luxemburg campaigns relentlessly for her beliefs, getting repeatedly imprisoned in Germany as well as in Poland, she spars with lovers and comrades until Luxemburg is assassinated by Freikorps for her leadership in the Spartacist uprising after World War I in 1919.

When Katharina Blum spends the night with an alleged terrorist, her quiet, ordered life falls into ruins. Suddenly a suspect, Katharina is subject to a vicious smear campaign by the police and a ruthless tabloid journalist, testing the limits of her dignity and her sanity.

The Divine Order (German: Die göttliche Ordnung) is a 2017 Swiss comedy-drama film directed by Petra Volpe. It was selected as the Swiss entry for the Best Foreign Language Film at the 90th Academy Awards, but it was not nominated.

The film centres on Nora Ruckstuhl, a housewife and mother in a small village. She publicly advocates for women’s suffrage in Switzerland to be voted on in a 1971 referendum. In the early 1970s as black power, women’s liberation and the sexual revolution are overtaking America, Nora Ruckstuhl is a housewife living in a small Swiss farming village where she lives with her husband, Hans, their two sons, and her father-in-law. When Nora suggests that she might like to go back to work as she is bored of housework her husband suggests that they have another child.

Ali, a courageous woman and single mother of two kids, works with the trainer and owner of a rundown box club in order to provide for her family. Ali has the heart of a lioness, is proud, doesn't complain and works herself to the bone for her two children, as a cleaner in Hamburg’s famous nightclub “Ritze.” But deep in her heart Ali carries a wound: after she became an unmarried mother in Romania she was disowned by her father - for whom, until then, she was the Gypsy Queen, the queen of all Roma. When Ali discovers the boxing ring in the Ritze’s basement one day and gets to watch a fight, it brings back memories of boxing training with her father. Fully equipped and disappointed by life, Ali vents all her fury on the punching bag one evening. Tanne, ex-boxer and owner of the Ritze sees her and recognizes her talent. She starts to box again and sees the chance for a better life.

The death of a schoolteacher leads to a reunion between a handful of close friends in this drama from writer and director Barbara Albert. Five longtime friends return to the town where they grew up for the first time since they were teenagers in order to pay their respects to a teacher who had a major impact on their lives. However, fate has taken the five women in very different directions since they left school.

This savvy and sexy film opens with its heroine, Nabou, a black lesbian living in Germany, being unceremoniously dumped by her lover Katja, a self-centered, blue-haired, white punker. Nabou takes a job cleaning Kim’s apartment, the straight black woman who lives in the same building just below Katja, ostensibly to stay as close as possible to her ex. Meanwhile Kim, with her own melodrama to deal with, feels overworked and underappreciated by her boyfriend, who is also her boss at the ad agency for which she works. While at first cool to and seemingly uninterested in each other, Nabou and Kim’s relationship blossoms over time, even as Katja decides she wants Nabou back and Kim’s boyfriend pops the big marriage question. With its hip soundtrack, overlapping story lines, and satirical take on racism, Everything Will Be Fine is a modern lesbian comedy sure to surprise and please.

The screenplay is a fictionalized account of the true lives of Christiane and Gudrun Ensslin. Gudrun, a member of The Red Army Faction, was found dead in her prison cell in Stammheim in 1977. In the film, Von Trotta depicts the two sisters Juliane (Christine) and Marianne (Gudrun) through their friendship and journey to understanding each other. Marianne and Juliane was von Trotta’s third film and solidified her position as a director of the New German Cinema.

In einem Tiroler Bergdorf lebt um 1815 herum die verwitwete Hebamme Rosa Kölbl mit ihrer jungen Schwester Anna. Zur selben Zeit, als sie der Bachler-Bäuerin fast gegen deren Willen bei der Geburt des achten Kindes hilft, ist auch der junge Medicus Gennaro Kauner beim Pfarrer im Dorf zu Besuch. Rasch ist zu erkennen, dass sie mit dem jungen Arzt viele Ansichten teilt, die aber für die damalige Zeit als aufklärerisch gelten. Eine davon ist die Idee des Arztes (und dessen Vorgesetzten) eines Gebärhauses, in dem Frauen in Ruhe und unter wesentlich hygienischeren Bedingungen ihre Kinder zur Welt bringen können als im Dorf oder den Armenvierteln der Stadt.

Die Unbeugsamen tells the story of the women in the Bonn Republic, who literally had to fight for their participation in the democratic decision-making processes against men obsessed with success and drunk on office like real pioneers. Fearless, ambitious and with infinite patience, they pursued their path and defied prejudice and sexual discrimination. Politicians from back then have their say today. Her memories are at once funny and bitter, absurd and at times frighteningly topical. Intertwined with partially unseen archive excerpts, the documentary filmmaker and journalist Torsten Körner (Angela Merkel - The Unexpected) has succeeded in creating an emotionally moving chronicle of West German politics from the 1950s to reunification. The images he found unfold with such force that the cinema can be rediscovered as a place of political self-assurance. An insightful contemporary document that makes an unmistakable contribution to the current discussion.

1981, Quiberon, a small village on the coast of Brittany, France. Hilde Fritsch arrives to visit her old friend who has retreated to a spa hotel to escape the daily pressures of her life. Her friend is world-famous star Romy Schneider, but together they appear like two regular women, who are just happy to be reunited. Yet it quickly becomes apparent that Hilde is supposed to offer the support the sensitive actress needs to be able to truly face her own demons. Shortly after, the young journalist Michael Jürgs and Romy's long-time acquaintance, photographer Robert Lebeck, arrive to conduct an interview for the famous German magazine STERN.

A Turkish German woman wages a near-hopeless battle to assert her independence from the oppressive values of her family and their Old World culture in When We Leave, a doleful melodrama. There are some intense, moving sequences, but too much emotional badgering and a general shortage of finesse. The beleaguered central character, Umay (Sibel Kekilli), a German-born woman of Turkish background, suffers physical abuse from her husband in Istanbul. Pushed beyond her limit, she flees with their young son (Nizam Schiller) to her family in Berlin, where she hits a wall of cultural attitude. By leaving her husband and, worse yet, taking the boy, she has brought shame on the family. (San Francisco Chronicle)

Director Feo Aladag made the movie in the wake of a series of honor killings in Germany's Turkish community.