Three ordinary, disillusioned citizens decide to rob an armored car.

Inspired by true events, Olympic swimmer Harry Melchior defects from East Germany in the 1960s and hatches a daring plot to help his sister and others flee East Berlin through a 145-yard underground tunnel.

Germany in the 50ies: A love story between an eastern spy and a western secretary who detects him (and her love) ...

Persuaded by Lysistrata, the women of Athens agree to withdraw all sexual favours from the men until the men agree to end to war with Sparta.

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.

A year on an Alpine farm: an older couple have two children, Belli, who wanted to be a teacher, and the younger Franzi, deaf, and although he works like a man, child-like. Belli teaches him. In his work, he can become frustrated, so when he throws an expensive mower over a cliff in a fit of pique, his father banishes him to the outskirts of the farm, where he uses pubescent energy to break rocks and build walls and cairns. (It's the tradition of the father's family, called "The Irascibles" by neighbors, to spend puberty doing this.) Belli visits him and they begin sleeping together. By winter, the boy is back in the house and Belli is pregnant. Soon her parents must know.

Five more-or-less distinct sections, all featuring "Freak" Orlando, a woman played by the late Magdalena Montezuma, who appears in various guises and deformities throughout.

Life on the border to the GDR is as dreary as the "Werra-Post". To increase circulation, Willi Busch, reporter and heir to the local paper, takes action: sometimes he demolishes telephone boxes, sometimes he fantasizes a child into a prophetess who talks to sheep. Only when he fakes a dead man's past as an informer does Willi's paper corpses suddenly become real...

In Berlin in 1961, an American soldier and a German engineer join forces to build a tunnel under the Berlin Wall in order to smuggle out refugees, including the soldier's East German girlfriend.

Herbert (Heinz Lieven) is a solid, middle-class engineer who one day quits his job and ensconces himself at home (preferably in the bathroom), refusing to say very much to anyone. His wife (Dorothea Moritz ) is all the more upset at his behavior because on Sunday mornings he goes out into the street and yells at the top of his lungs for everyone to "get up." Eventually, the hard-working wife who is also earning their support convinces Herbert to go to a clinic for treatment. But is it a clinic he needs? Or is Herbert rebelling against a society that is too ordered, too sterile, too buried in the monotony of routine?