记录了四位女孩在儿童青少年寄宿机构的日常生活。她们与父母分离，努力寻求认可、自爱、自主和安全感。她们心中始终怀揣着回家的渴望。在两年的时间里，我们跟随她们经历成长的起伏，见证她们与照护者、教育者、父母以及各种机构的互动。我们了解她们的忧虑和希望，也目睹了她们的坚韧和毅力。影片探索了这些年轻人在困境中努力为自己开辟道路的勇气和韧性。影片不加评判，真实地展现了儿童青少年服务机构的日常生活——那里并非总是一帆风顺，但安全感和积极的成人与儿童关系依然可以建立。最终，女孩们依然怀揣着“正常生活”的梦想，渴望在那里充分发挥自己的潜能。

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8-part youth series on the subject of love and sexuality. The self-contained episodes focus on young people between the ages of 12 and 18. Their experiences, especially during puberty, are accompanied by contradictory feelings, curiosity and fear, hopes and disappointments. The eight stories tell how they deal with these feelings. They are therefore not to be understood as sex education films, but rather confront young people with the question of the interpersonal significance and the consequences of sexuality in relationships. Topics such as first menstruation, first sexual contact, homosexuality, wanted and unwanted pregnancy, partner problems and conflicts at home are addressed and portrayed, as are the possible psychological consequences of AIDS.

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Judith, an investigative journalist, begins to unravel a murder mystery that implicates one of her current lovers. When she checks out a peep-show business on the seedy side of Hamburg as part of the investigation, she runs into a former boyfriend who used to be a psychiatrist but is now an arms dealer. Judith is lured back into his fold, cheating on her current lovers, one of whom is also a shrink. Despite her profession, or perhaps because of it, Judith tends to blend fantasy and reality, so small wonder she is attracted to psychoanalysts. But, two shrinks and a murder prove more than Judith can handle. 　　"Valie Export's third feature is an anti-romance in which the heroine, oscillating between two relationships, 　　gradually discovers that both are impossible, not because the subjective processes of "love" are defective, 　　but because the objective, social matrix in which both her male lovers operate is corrupt, immoral, murderous: 　　in this film, the male world and its power structures cancel the possibility of love beyond the matter of sexuality, 　　that is the objectification of love. Export makes use of techniques drawn from her earlier experimental cinema, 　　video and conceptual photography to expand the possibilities of narrative feature filmmaking and to disintegrate 　　some of its overdetermined conventions." 　　Video control in subway stations and in street traffic, tapes and cameras are very important 　　for the structure of the film. Mediocrity, hypocrisy and violence are the film's main themes. 　　Valie Export deals with them on private, social and media levels, adhering to the techniques 　　of video avant-garde.

Charly was a clown before he lost his talent for making people laugh. When Charly loses his last engagement, he decides to take his own life. He jumps off a bridge under which Karla, a notorious merrymaker, is disposing of her latest victim. His suicide attempt fails, so Charly blackmails Karla: either she kills him or he betrays her to the police. Karla is a lust murderer, she only kills who she loves - and Karla simply can't feel anything for the world-weary clown. When all attempts to kill her fail miserably, Charly has a plan: laughter is the best aphrodisiac. Charly wants to make Karla laugh, make her fall madly in love with him and then finally be able to kill him.

Judith, an investigative journalist, begins to unravel a murder mystery that implicates one of her current lovers. When she checks out a peep-show business on the seedy side of Hamburg as part of the investigation, she runs into a former boyfriend who used to be a psychiatrist but is now an arms dealer. Judith is lured back into his fold, cheating on her current lovers, one of whom is also a shrink. Despite her profession, or perhaps because of it, Judith tends to blend fantasy and reality, so small wonder she is attracted to psychoanalysts. But, two shrinks and a murder prove more than Judith can handle. 　　"Valie Export's third feature is an anti-romance in which the heroine, oscillating between two relationships, 　　gradually discovers that both are impossible, not because the subjective processes of "love" are defective, 　　but because the objective, social matrix in which both her male lovers operate is corrupt, immoral, murderous: 　　in this film, the male world and its power structures cancel the possibility of love beyond the matter of sexuality, 　　that is the objectification of love. Export makes use of techniques drawn from her earlier experimental cinema, 　　video and conceptual photography to expand the possibilities of narrative feature filmmaking and to disintegrate 　　some of its overdetermined conventions." 　　Video control in subway stations and in street traffic, tapes and cameras are very important 　　for the structure of the film. Mediocrity, hypocrisy and violence are the film's main themes. 　　Valie Export deals with them on private, social and media levels, adhering to the techniques 　　of video avant-garde.

Eva, a single mother of two children, like many job seekers before her, falls victim to a fraudster who talks her into buying a knitting machine. What initially looks like a huge flop turns out to be a real gap in the market thanks to Eva's cleverness. Shortly afterwards, she falls in love with her neighbor Jan. But dark clouds soon gather...

London art dealer Ben Hoadey has a cardiac arrest while flying his helicopter, just able to land on Geoffrey Arland's Cornish coast estate. Ben takes Dr. Gerome's advice to stop working and stays indefinitely in the sleepy resort town. He's romantically interested in wheelchair-bound Geoffrey's wife June, who nurses both men and the doctor's other patients. Ben's jealous ex Rebecca tries to spoil everything with a dirty deal.

暂无英文版的简介，请添加内容帮助我们完善数据库。