One Hundred and Thirteen shades of guilt, love, death and forgiveness at the Monte-Carlo TV Festival
The German-Austrian co-production Hundertdreizehn (One Hundred and Thirteen), nominated for a Golden Nymph at this year’s Monte-Carlo TV Festival, is a series that defies conventional storytelling. Produced by WindLight Pictures and Satel Film for WDR, ARD and ORF, and distributed by ITV Studios, the show presents a high-concept narrative structure—one that explores the ripple effects of a tragic bus crash through multiple interconnected lives. During a roundtable interview at the festival, key creatives—including executive producer Moritz Polter, writer Arndt Stüwe, and actors Patricia Aulitzky and Robert Stadlober—discussed the series’ unique format, its emotional depth, and its potential as an international hit as well as the already expressed interest in it as a format.
When a devastating bus crash shatters lives in an instant, the story unfolds through six intertwined narratives, revealing how even the smallest moments can change everything. Inspired by the idea that 113 people are affected by a single death, this drama is as thought-provoking as it is propulsive. According to the figures of the Federal Ministry of Transport in Germany, 113 people are directly or indirectly affected by such an event. And the series named after this number makes it clear what this can mean in individual cases. Parallel to the investigations surrounding a devastating bus accident in the middle of the city, each episode takes an exemplary look at one of six prominent people involved (including Armin Rohde, Friederike Becht, Max von der Groeben). And it illustrates what fractions of a second can do to people's lives - both positively and negatively.
The series will premiere this fall.
A Radial Narrative Inspired by Real-Life Impact
The series’ title, Hundertdreizehn (113), refers to a startling statistic: when one person dies in an accident, an average of 113 people are profoundly affected—relatives, witnesses, first responders, and others. "I read this little article in the newspaper and I was amazed by this amount of people," said Arndt Stüwe, the show’s writer and creative producer. "I found it a really huge number. And immediately, because my author brain works like that, I was having this idea of a radial structure... You have one point in the middle, this is the accident, and from there out we spread out these six or seven stories." Each episode focuses on a different character linked to the crash, diving deep into their personal trauma, guilt, and redemption. The structure is both ambitious and demanding, requiring a large ensemble cast (60 speaking roles) and multiple sets—a logistical and financial challenge.
"Normally when you do a television series, the longer it goes, the better it is for the budget," explained Moritz Polter. "If we had done ten [episodes], it would have been ten times [the cost]... We don't have economies of scale on this."
On the format and the main themes of the show, Stüwe said "we condensed per episode a long 90 minute film into 45 minutes. Because of the heaviness of the themes. It's guilt, love, death, forgiveness. We all condense this into 45 minutes and this needs a huge amount of dedication and money. And even if you could say there are sometimes little sets and just concentrated work. But you have to have such great actors to make that work. So you need the best of the best to make that happen."
A Crime Drama with a Human Core
While the series has investigative elements—led by Robert Stadlober’s empathetic detective and Lia von Blarer’s (playing the role of Anne Goldmundt) forensics expert—it is far from a conventional procedural. "He's not like your typical police officer guy just working by the rule book," Stadlober said of his character. "He kind of has empathy for every life journey... He’s truly moved by [the case]. Contrary to his partner, who's very technical. What I maybe lack in genius, she lacks in empathy. So we are really a good combination." The show’s emotional weight comes from its exploration of grief, betrayal, and unexpected connections. Patricia Aulitzky, who plays a woman grappling with her husband’s death and a shocking secret, described her character’s journey: "She's very closed and kind of reacts to this loss. But I think in the beginning, it's more the betrayal that gets to her than the loss itself... It's a lot to process. She needs time to open up and to really let the pain through."
A Risky Bet in a Risk-Averse Industry
In an era where broadcasters often rely on established IP or formulaic crime dramas, Hundertdreizehn stands out as an original, structurally daring project. "I think we're at a moment in the TV industry when people don't want to take a risk," noted one journalist during the discussion. "It's amazing that this is happening." Polter acknowledged the challenge but credited the writing and framing of the show for securing network support. "One can frame it as a show that has crime elements... That is what keeps you hooked to a certain degree and what is very, I would say, normal in today's television landscape. That we then told five very individual storylines is something that they have to overcome."
The success of similarly unconventional dramas, such as Babylon Berlin, may have helped pave the way. "We were already told that that might have made it slightly easier in the marketplace," Polter admitted.
International Potential: A Format That Could Travel
The series’ unique structure has already sparked interest as a potential format. When asked by TVBIZZ if there has been interest in the series as format. Polter answered with a smile: "Even before we finished shooting, it was clear that this could well be a format - we (already) have had requests for a format." When asked about the possibility of a second season, Stüwe was cautious but open: "You could continue with our police investigators investigating something else... Again, having a structure where each episode focuses on a different character touched by whatever it is they are investigating." Polter added that a continuation would likely work best as a White Lotus-style anthology rather than a direct sequel. "It's easier to continue as a format... People will know what they are being invited to in a different way than if you are doing a second season with the same characters."
Hundertdreizehn is more than a crime drama—it’s a profound exploration of human connection in the wake of tragedy. Its radial storytelling, emotional depth, and strong performances make it a standout in the current TV landscape. As the team prepares for its international launch under the title One Hundred and Thirteen, the question remains: Will global audiences embrace its unconventional structure? Given the universal themes of loss, love, and resilience, the answer is likely yes. "This touching people on a very personal and heartfelt level is something that works well in shows that are subtitled," Polter observed. "That feeling, that emotion, is carried through the acting."
And if the early festival reactions are any indication, Hundertdreizehn is poised to leave a lasting impact—far beyond just 113 people.
The series will premiere this fall.
A Radial Narrative Inspired by Real-Life Impact
The series’ title, Hundertdreizehn (113), refers to a startling statistic: when one person dies in an accident, an average of 113 people are profoundly affected—relatives, witnesses, first responders, and others. "I read this little article in the newspaper and I was amazed by this amount of people," said Arndt Stüwe, the show’s writer and creative producer. "I found it a really huge number. And immediately, because my author brain works like that, I was having this idea of a radial structure... You have one point in the middle, this is the accident, and from there out we spread out these six or seven stories." Each episode focuses on a different character linked to the crash, diving deep into their personal trauma, guilt, and redemption. The structure is both ambitious and demanding, requiring a large ensemble cast (60 speaking roles) and multiple sets—a logistical and financial challenge.
"Normally when you do a television series, the longer it goes, the better it is for the budget," explained Moritz Polter. "If we had done ten [episodes], it would have been ten times [the cost]... We don't have economies of scale on this."
On the format and the main themes of the show, Stüwe said "we condensed per episode a long 90 minute film into 45 minutes. Because of the heaviness of the themes. It's guilt, love, death, forgiveness. We all condense this into 45 minutes and this needs a huge amount of dedication and money. And even if you could say there are sometimes little sets and just concentrated work. But you have to have such great actors to make that work. So you need the best of the best to make that happen."
A Crime Drama with a Human Core
While the series has investigative elements—led by Robert Stadlober’s empathetic detective and Lia von Blarer’s (playing the role of Anne Goldmundt) forensics expert—it is far from a conventional procedural. "He's not like your typical police officer guy just working by the rule book," Stadlober said of his character. "He kind of has empathy for every life journey... He’s truly moved by [the case]. Contrary to his partner, who's very technical. What I maybe lack in genius, she lacks in empathy. So we are really a good combination." The show’s emotional weight comes from its exploration of grief, betrayal, and unexpected connections. Patricia Aulitzky, who plays a woman grappling with her husband’s death and a shocking secret, described her character’s journey: "She's very closed and kind of reacts to this loss. But I think in the beginning, it's more the betrayal that gets to her than the loss itself... It's a lot to process. She needs time to open up and to really let the pain through."
A Risky Bet in a Risk-Averse Industry
In an era where broadcasters often rely on established IP or formulaic crime dramas, Hundertdreizehn stands out as an original, structurally daring project. "I think we're at a moment in the TV industry when people don't want to take a risk," noted one journalist during the discussion. "It's amazing that this is happening." Polter acknowledged the challenge but credited the writing and framing of the show for securing network support. "One can frame it as a show that has crime elements... That is what keeps you hooked to a certain degree and what is very, I would say, normal in today's television landscape. That we then told five very individual storylines is something that they have to overcome."
The success of similarly unconventional dramas, such as Babylon Berlin, may have helped pave the way. "We were already told that that might have made it slightly easier in the marketplace," Polter admitted.
International Potential: A Format That Could Travel
The series’ unique structure has already sparked interest as a potential format. When asked by TVBIZZ if there has been interest in the series as format. Polter answered with a smile: "Even before we finished shooting, it was clear that this could well be a format - we (already) have had requests for a format." When asked about the possibility of a second season, Stüwe was cautious but open: "You could continue with our police investigators investigating something else... Again, having a structure where each episode focuses on a different character touched by whatever it is they are investigating." Polter added that a continuation would likely work best as a White Lotus-style anthology rather than a direct sequel. "It's easier to continue as a format... People will know what they are being invited to in a different way than if you are doing a second season with the same characters."
Hundertdreizehn is more than a crime drama—it’s a profound exploration of human connection in the wake of tragedy. Its radial storytelling, emotional depth, and strong performances make it a standout in the current TV landscape. As the team prepares for its international launch under the title One Hundred and Thirteen, the question remains: Will global audiences embrace its unconventional structure? Given the universal themes of loss, love, and resilience, the answer is likely yes. "This touching people on a very personal and heartfelt level is something that works well in shows that are subtitled," Polter observed. "That feeling, that emotion, is carried through the acting."
And if the early festival reactions are any indication, Hundertdreizehn is poised to leave a lasting impact—far beyond just 113 people.
