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成功的金融骄子、被宠坏的股市弄潮儿阿图尔·博伊森向来是人生赢家。当被诊断出罹患神经系统不治之症后，他毅然投身与病魔的抗争。 　　——这部扣人心弦的戏剧由罗伯特·阿佐恩饰演这位充满魅力的金融家，唯有藉由致命疾病的威胁，他才得以领悟对妻子之爱的真谛。

The shy Michael Seebisch wants to work even more in the new year. His great love is for computers. Only the enamel of great opera voices can transport him from everyday life to another, imaginative world.

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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.

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...