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We don't have an overview translated in English. Help us expand our database by adding one.

Ada Hänselmann presents her debut novel. However, the numerous guests are only interested in the 82-year-old legendary actor Nino Winter and his autobiography. The two meet again in the evening at the hotel bar. Ada involves Nino in a game - he is supposed to play a detective and shadow her. After a tour of the city, the games continue: Both are to answer any five of the other's questions honestly. Nino is skeptical, but eventually there are hundreds of questions, big and small, casual and existential, about life, love, fame, transience: what would Nino look like as a woman, what was nature thinking when it created the family, what does love sound like, what does death mean? Ada and Nino become allies of the night. They have to jump over their own shadows and a magical closeness develops between them. It is an encounter that neither of them will ever forget...

Barely out of jail, oldie burglar Karl is in for a surprise: accomplice Bruno gives him a baby.

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.

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.

Since the death of her husband, ex-teacher Franziska has had to look after her son David and his disabled brother Bobby on her own. Their new neighbors, Professor Maximilian and his wife Mechthild, bring a breath of fresh air into their lives.

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...

Franziska Naumann happily greets her allegedly new neighbor Dr. Gottfried Naumann. She is very surprised when he wants to move into the same apartment in which just the movers carry their furniture. Even Gottfried is surprised - Franziska has not only the same name as he, but apparently also rented the same apartment. Without compromising, the quarreled estate agents Beate and Werner Wüstholtz has rented the apartment twice. There is only one solution: until the circumstances are clarified, the unequal couple must live together in the apartment. The fight burns.

The Munich business lawyer Marc is not happy: Instead of going to New York as planned, he has to travel to the province of Mecklenburg-Western Pomerania at short notice to represent his sick grandfather as a pub owner for four weeks. The lawyer juggles millions of dollars every day - it should be easy for him to get grandpa's ailing tavern going with Western know-how. But the down-to-earth Ossis are not in the mood for tapas and Thai food. Marc only realizes this when he gets to know and love the young, single parent Carmen. When Marc's fiancée Lisa shows up, decisions are pending.