Tatort – Tree Of Salvation
In the Austrian province of Tyrol there's a minaret. The small tower of prayer in Telfs has gained popularity only because of the fierce discussions around its construction. Tyroleans vs. Turks, fundamentalists vs. modernists, politicians among themselves, everyone against reason. The morale there is still down. Too little appearances kept, too much face lost, too much preaching of "we don't mingle". This bears consequences.

The Turkish girl Ayse wanted nothing more than to be free – with her Tyrolean boyfriend. Now she's hanging from a notorious tree in the woods nearby, like other suicidal Turks before her. Ayse, however, has been murdered and Martin's missing.

Now Eisner, the superintendent from Vienna, has to investigate. Tough job. His colleague from Innsbruck prefers Tyroleans “pure-bred” only. And the Turk wearing the uniform of an Austrian policeman is not even liked by his own people. The hostile clans of the Ozbays and Larchers want nothing to do with the police, anyway. They're in the midst of a Shakespeare drama. Ayse's sister is cast as Julia, and one of the Larcher boys acts the role of Romeo. The whole show is about vigilante justice. 
Eisner needs to find the killer fast – somewhere between mosque, factory, mountain top, hunting lodge and white water.

Tree Of Salvation depicts an everyday crime story, about racism vs. religion, ignorance vs. integration. It's explosive because of its truth, and thrilling because of its authenticity.

Quite exciting, when one of your film starts out with a signation familiar since childhood. And we vividly experienced all the cultural battles required by the screenplay right on location. If not literally everyone – author, leading man, team and authorities – had gone all out for it, this Tatort could never have been made. As a reward for our hardship & toil we got sensational ratings in Austria and Germany.