Ramba Zamba: a theater with handicapped and non-handicapped people/actresses and actors, which has been living and working on inclusive integrative togetherness impressively every day for thirty years now. The film accompanies the mentally and physically impaired actresses and actors for six months through the theatrical production of the play GOLEM, from the beginning of rehearsals to the premiere. In doing so, the film is also partly influenced by the portrayed persons themselves, quasi inclusively co-determined, by them capturing their own view and perception, their view of reality itself on film.

Somewhere on the outskirts of Berlin, a self-proclaimed priest is preaching to a group of people with addiction and mental-health problems in a run-down building that houses a psychosocial support group. A recent arrival at the facility, which aims to be both a home and a religious community for its residents, is Egon, who is struggling with a psychotic disorder. He cannot sleep, refuses to help on the farm, won’t wash, and has trouble following the priest’s instructions. More than once, the pastor crosses a line and humiliates his charges. For most people here, turning to religion is something of a last chance, affording them some kind of support. Egon, however, claims to have conversations with Jesus in which the latter condones his defiant behaviour. His attempt to take the Messiah at his word and understand his miracles eventually propels Egon deeper and deeper into his psychosis.