Julchen is the "feminine" (transvestite) and definitely motherly half of a couple of homosexual men, the "co-fathers" of a pleasant part-Moroccan girl. The girl has been told that her mother is dead, but Julchen knows this is not true.

Director İsmet Elçi tells the semi-autobiographical story of Kemal (played by Elçi himself), who negotiates his identity between two cultures (Turkey and Germany), struggling to find a future as a director in the German film industry.

Director İsmet Elçi tells the semi-autobiographical story of Kemal (played by Elçi himself), who negotiates his identity between two cultures (Turkey and Germany), struggling to find a future as a director in the German film industry.

Anyone who is keen to capture Berlin’s most original characters on film is bound to end up at Sylvia Heidemann’s door. Sylvia has saved up every penny of her reparation money to appear just once in her life on the silver screen like Greta Garbo. It just so happens that the Viennese filmmaker Andersch and Madame Heidemann are staying at the same hotel and it’s not long before the two strike a bargain.

Eva Ebner is a Berliner who gives the appearance of being rather eccentric. She knows the film business inside out – regardless of whether she’s work- ing behind the camera as an assistant director or in front of it as an actor. Her name is closely associated with a series of now-legendary adaptations of Edgar Wallace’s crime novels which were made in Germany during the 1960s. Upcoming young directors from local film schools have also profited from Ms. Ebner’s unbroken enthusiasm and passion for film. However, this eighty-year-old has a more than broken relationship to the events of her childhood and youth in Gdansk – a time when her life was characterised by an anti-Semitic step-mother and the dangers posed by the Nazi regime. This film portrait does not eschew any of the long dark shadows of that era, nor does it sidestep any friction between portrayer and his subject. (Lothar Lambert)

Eva Ebner is a Berliner who gives the appearance of being rather eccentric. She knows the film business inside out – regardless of whether she’s work- ing behind the camera as an assistant director or in front of it as an actor. Her name is closely associated with a series of now-legendary adaptations of Edgar Wallace’s crime novels which were made in Germany during the 1960s. Upcoming young directors from local film schools have also profited from Ms. Ebner’s unbroken enthusiasm and passion for film. However, this eighty-year-old has a more than broken relationship to the events of her childhood and youth in Gdansk – a time when her life was characterised by an anti-Semitic step-mother and the dangers posed by the Nazi regime. This film portrait does not eschew any of the long dark shadows of that era, nor does it sidestep any friction between portrayer and his subject. (Lothar Lambert)

Lola L., a washed-up travesty star, is extremely taken with the shy, young Turk Hasim when he comes into her dressing room and wants to get to know the famous artist. While her main aim is to lure him into her lottery bed, he remains steadfast and is only interested in Lola helping him with his career. Soon enough, he outflanks her, and the deregistered Lola is forced to realize that jealousies and intrigues have now caused the situation in her travesty theater microcosm to spiral out of control.

The story of a short but intense friendship between two very different women in Berlin. Mascha, in her mid-30’s, worked as a television editor for years before dropping out to make two self-financed and unexpectedly successful theatrical films. At the moment, she is taking a break – she’s run out of ideas. Her plight is made worse by her boyfriend Frank’s unsympathetic attitude. He is a head of production, from a working class background, an unscrupulous career man, and won’t tolerate an unsuccessful woman around him. In the midst of this exasperating mess, Mascha meets the ‘’wolf girl’’, Dennis, a young black rebel who works as a cleaner in a theater. The girl fascinates Mascha and she finally breaks her long, loveless relationship with frank so she can spend more time with Dennis. The two women move in together: Mascha because she wants to turn the simple ‘’wild’’ Dennis into a more sedate person, and Dennis because she has secret hopes of finding human warmth and shelter.

The two brothers Alfred and Hans are very different, one, a mummy's boy, still hopes for the great love at 35, the other enjoys life as a womanizer. When their mother dies, their lives change. Mama's boy Alfred and Don Juan Hans fall in love with the same woman. Their beloved is called Angelika who is in her mid-30s, works in a travel agency and considers herself emancipated. She has not married the father of her now 18-year-old daughter. All parties involved change as a result of the courtship of Angelika. The sad Alfred becomes a radiant lover, the womanizer starts thinking and Angelika herself feels younger and younger.