Hans is a street fruit peddler and born loser. His choice of career upsets his bourgeois family, causing him to turn to drinking and violence. After recovering from a debilitating heart attack, his business finally begins to take off. However, the more he becomes a credit to his family, the more depressed he becomes.

A group of young slackers spend most of their time hanging out in front of a Munich apartment building. When a Greek immigrant named Jorgos moves in, however, their aimless lives are shaken up. Soon, new tensions arise both within the group and with Jorgos.

About the making of "Der amerikanische Soldat/The American Soldier" in 1970.

At Gestapo head quarters a young woman establishes a relationship with another inmate. This young woman is Sophie Scholl who tells the story of her life and of her resistance movement′s courageous fight against Hitler′s Nazi regime.

Small-time pimp Franz is torn between his mistress and Bruno, the gangster sent after him by a shady crime syndicate he has refused to join.

Made during the last months of actor Kurt Raab, who died of AIDS in 1988. Raab, who had worked in both theatre and film, most notably with Fassbinder, was in the process of making a series of video sketches for a new production when he learned that he had AIDS. Despite his deteriorating health, and with the caring support of his friend Hans Hirshmuller, he carried on working. This tape is his last testimony.

A pregnant woman suffers severe head trauma in a car accident. The doctors are unable to help her, but at the request of her fiancé, they decide to keep her body functioning artificially in order to save the unborn child. The ethical issues involved in the case trigger fierce public controversy.

Theo Gromberg is a bon vivant, apparently with built-in guarantee to failure. Faithful to his side is his friend Enno, an Italian guest workers. Both have a dream: to which they want to get into the trucking business its own trucks.

Travelling between Germany, France, and Tunisia, Viola Shafik reconstructs and deconstructs the unknown life story of El Hedi Ben Salem through interviews with his companions and family members as well as archival material. With openness and slight naivety, the interviewees explain how “Ali” became an oriental object of projection for the Fassbinder group, while El Hedi Ben Salem, the human being, was overlooked in order to establish the foreigner as “other.” A no-frills examination of a piece of German and Munich film history.