Police chief Horst Krause and his sister Elsa have been looking after the inn in Schönhorst in Brandenburg since his well-deserved retirement. It would be all good if Elsa wasn't suddenly so forgetful.

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In 1989, teacher Wendler and his wife leave the GDR to join his Bavarian uncle. In the West, the line-loyal educator with a whitewashed CV is immediately accepted back into the teaching profession. He advances to become a model Bavarian. Until one day a pupil from bygone GDR days turns up...

Susanne (17) and Robert (18) want to get married, but because Susanne is still under-aged, she needs parental permission. With twin babies and tight finances, the newlyweds soon feel overwhelmed, and dealing with everything makes them forget the love that originally brought them together.

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在德语中，当一切正常时，就是“Im grünen Bereich”，字面意思是在绿色区域。经过 13 年对三种颜色光的艺术研究（从 CAPSICUM 开始），这部电影（也制作了一本手工书）着眼于基本上是生命的颜色 - 绿色。 　　在柏林市政府 (Senatsverwaltung für Kultur) 的资助下，沃尔夫冈在 der Wiesche 创作了音乐。

在特摄剧和超级机器人系动画作品中享受极高声望的横山光辉老师原作的《GIANT ROBO（铁甲人）》再度动画化，这部续作的名字是《GR -GIANT ROBO-》。动画的主人公依旧是草间大作，超级机器人的机体设定也保留原案，但关于登场人物和世界观将会作出众多调整。 　　《GIANT ROBO（铁甲人）》诞生于1967年，是横山光辉老师绘制的一部漫画作品，当年还曾经拍摄成特摄剧，开创了巨大机器人热潮的时代。1992年，这部作品被搬上动画舞台，《GIANT ROBO：地球静止之日》的上映在日本国内外匀得到较高的评价。而2007年正是《GIANT ROBO》诞生40周年，制作一部新版的《GIANT ROBO》也的确是对这部影响了N代人的伟大作品的最好纪念。负责新版漫画剧本的依旧是《GIANT ROBO：地球静止之日》的监督今川泰宏，但动画版的制作小组成员将做出重大调整。

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Experimental film made by painting directly onto the film strip using ink, pens, sand, etc., with no camera. A film that decisively renews the tradition of painting on film. It is an abstract, silent film, with no unifying plot line, in which the only characters are forms and colours. 　　In the words of the artist: 　　The film’s strange title, ...ere erera baleibu izik subua aruaren..., has no meaning, it is made up merely of syllables that sound something like Basque. In order to ensure that the only lead character in the film was the painting itself, J.A. Sistiaga did not even want to give the work a title, but given the political situation of the time (the film was made when Franco’s regime was still in power), censorship left him no choice. 　　So, he rang his friend and fellow artist Rafael Ruiz Balerdi, and asked him to invent a title that had no meaning but that would sound like something said in the Basque language. The name that Balerdi came up with on the spot became the definitive title of the work.