Elated by the Italian attitude to life, family Struutz returns to Bitterfeld and experiences a shock: In the turmoil of the reunification her house must give way to a golf course. Hope Udo teacher, his wife Rita and daughter Jacqueline through the surprising inheritance of a factory near Dresden. But of market economy, the staid Saxons unfortunately have no idea. Help comes in the guise of adventurer and condoms dealer Charlie, who works as a "business consultant" and gives Udo a Rock & Roll crash course in capitalism - with unsurpassed success.

On the brink of her 30th birthday, Fanny feels the door to marital happiness closing on her. She is obsessed with death and even visits evening classes on dying, so it seems fitting that she encounters a skeleton in the malfunctioning elevator of her apartment building. The skeleton is her neighbour Orfeo, a Black, gay, self-declared psychic, who convinces her that she is about to meet "him". But is it really Lothar, the new yuppie apartment manager ...?

After Sam, a penniless Afro-German singer, discovers he's HIV positive, he gets utterly drunk, spends a few miserable days, but promptly falls (back) in love. Amidst a crumbling former East Berlin (its bulidings, cars, people & culture), Sam develops a "family" for the new millenium, for the new generation of post-drug cocktail AIDS victims. The fragile "family" he forms includes his on-again-off-again boyfriend Rainer, and his best friend Bastl with his latest fling, Mike. Like the old, schmaltzy East German songs which Sam is recording, the sweet innocence of the characters struggle to prevail, the misfortunes of the characters nothwithstanding.

When a salon refuses to hire her because of her plump figure, irrepressible hair stylist Kathi plots revenge by opening her own beauty parlor next door. But when she faces a cash-flow problem, Kathi resorts to some creative means of raising capital.

Philipp, a closeted teacher, is dating a female colleague to keep up appearances. One night he stumbles into a gay bar and falls for a man. Transformed by this love, he is no longer afraid to face up to who he is.

A woman despairs about the coming collapse of the world. How will it change? What kind of planet will she leave to her daughter? She imagines different scenarios, each more terrible than the last, and decides to do something. No matter how pointless it may seem to her.

Radio presenter Karla's biological clock is ticking, and it's now very loud and clear. But no matter what she does, she simply cannot find a suitable man with whom she could imagine a family.

Up-and-coming writer Junghans leads a rather dull life.

Shot with striking immediacy by a subjective camera, “Angst isst Seele auf” assumes the point of view of a black actor in Germany dealing with racist abuse as he prepares to appear in a play based on Fassbinder’s film, about the taboo relationship between an older German woman and an Arab man. Sharing the same lead actress (Brigitte Mira), cinematographer (Jürgen Jürges), and editor (Thea Eymèsz) as in Rainer Werner Fassbinder’s 1974 Film “Angst essen Seele auf”, these twin works offer a searing indictment of prejudice within German society.

Rainer has a miserable life. He works as a pizza delivery guy in a small eastern german town. Unhappy with his situation and apparently short on money he's also struggeling with the dementia of his mother, who he cares for. Soon he can't take it anymore having anything accomplished in his life. With his mother in a home and a self-made bomb in the back of his delivery scooter he's heading north to Berlin. The road trip begins.