Hanns Zischler

During the 1972 Olympic Games in Munich, eleven Israeli athletes are taken hostage and murdered by a Palestinian terrorist group known as Black September. In retaliation, the Israeli government recruits a group of Mossad agents to track down and execute those responsible for the attack.

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.

During Nazi occupation, red-headed Bent Faurschou-Hviid (\Flame\) and Jorgen Haagen Schmith (\Citron\), assassins in the Danish resistance, take orders from Winther, whos in direct contact with Allied leaders. One shoots, the other drives. Until 1944, they kill only Danes; then Winther gives orders to kill Germans. When a target tells Bent that Winthers using them to settle private scores, doubt sets in, complicated by Bents relationship with the mysterious Kitty Selmer, who may be a double agent. Also, someone in their circle is a traitor. Can Bent and Jorgen kill an über-target, evade capture, and survive the war? And is this heroism, naiveté, or mere hatred?

Tom Ripley - cool, urbane, wealthy, and murderous - lives in a villa in the Veneto with Luisa, his harpsichord-playing girlfriend. A former business associate from Berlin's underworld pays a call asking Ripley's help in killing a rival. Ripley - ever a student of human nature - initiates a game to turn a mild and innocent local picture framer into a hit man. The artisan, Jonathan Trevanny, who's dying of cancer, has a wife, young son, and little to leave them. If Ripley draws Jonathan into the game, can Ripley maintain control? Does it stop at one killing? What if Ripley develops a conscience?