Sleepwalker tells three stories against the backdrop of a New Year's Eve: Lola and Paul, who drift aimlessly through the city and provoke complete strangers. Simon and Marie, who spend the evening with Simon's professor and his wife, gaining an ominous insight into their own possible future. And the teacher Karin, who spends the night with her student Fuad. A small panorama of a society on the brink of a turning point. A film about the fear of inner stagnation, while history has picked up full speed again after decades of order. The conflicts of 2020 loom on the horizon, but are still too abstract to be perceived as a serious threat. Somewhere, far away in downtown Vienna, thousands of people are celebrating a boisterous party, but our characters see no reason to join in.

Chantal is at the beginning of her career as an influencer when she steps through a mirror and finds herself in a fairy tale. She identifies as Sleeping Beauty. Her best friend Zeynep follows her through the mirror. Chantal’s goal, naturally, is to find a man, definitely a prince. Perhaps she will marry Prince Bosco. She already has a wedding gown, but he seems more interested in men. Her friend, Aladdin (Mido Kotaini), has a magic lamp; he rubs it, and people appear. She works to finish making a flying carpet. There is a wicked witch, Sansara, who sometimes looks old but often young. Her friend Zeynep ends up in a grave but reappears. An elderly rather fat fairy pops up occasionally. Chantal must fight a dragon.

A day that takes place twice.

Anna wants to break away from her past and family background. A new social environment and a second educational path are supposed to help her achieve this. However, her ambitious pursuit of a middle-class ideal is relentlessly torpedoed by the appearance of her brother in distress.

“Jimmie” is told through the eyes of a 4-year old boy who has to go on a journey with his father to a safer land, leaving his mother at home in Sweden.

A young couple in love spontaneously get involved in an underground play in a dark cellar that is billed as "particularly bad". As expected, the play begins "artistically valuable" - the audience is rather bored, some filming along with amusement. However, the mood changes abruptly when Manfred Amour, the play's car, enters the cellar.