A personal documentary about Lothar Lambert, his films and Dagmar Beiersdorf's friendship with him, which has repeatedly led to collaboration on film projects. For decades, the filmmaker (who, like Lambert, was born in 1944 and has also lived her entire life in Berlin) was Lambert's closest collaborator both in front of and behind the camera. Inevitably, this creates a self-portrait of the director and her film work, which she ended with this work.

A treatise on love and desire tainted by harsh reality of capitalism, in which submission to the laws of lust-as-commerce is played out by five prostitutes and their pimp, who pits them against one another so that they are incapable of standing up to him collectively.

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.

Rita, the prostitute, meets the Lebanese worker Hossein. He need working papers. She needs love.

Rita, the prostitute, meets the Lebanese worker Hossein. He need working papers. She needs love.

Rita, the prostitute, meets the Lebanese worker Hossein. He need working papers. She needs love.

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.

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 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.

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.