Lothar Lambert

Eva Ebner is a Berliner who gives the appearance of being rather eccentric. She knows the film business inside out – regardless of whether she’s work- ing behind the camera as an assistant director or in front of it as an actor. Her name is closely associated with a series of now-legendary adaptations of Edgar Wallace’s crime novels which were made in Germany during the 1960s. Upcoming young directors from local film schools have also profited from Ms. Ebner’s unbroken enthusiasm and passion for film. However, this eighty-year-old has a more than broken relationship to the events of her childhood and youth in Gdansk – a time when her life was characterised by an anti-Semitic step-mother and the dangers posed by the Nazi regime. This film portrait does not eschew any of the long dark shadows of that era, nor does it sidestep any friction between portrayer and his subject. (Lothar Lambert)

Anyone who is keen to capture Berlin’s most original characters on film is bound to end up at Sylvia Heidemann’s door. Sylvia has saved up every penny of her reparation money to appear just once in her life on the silver screen like Greta Garbo. It just so happens that the Viennese filmmaker Andersch and Madame Heidemann are staying at the same hotel and it’s not long before the two strike a bargain.

Looks like an alien, sings like a diva - Klaus Nomi was one of the 1980s' most profoundly bizarre characters to emerge through rock music: a counter tenor who sang pop music like opera and brought opera to club audiences and made them like it. The Nomi Song is a film about fame, death, friendship, betrayal, opera, and the greatest New Wave rock star that never was!

Berlin Underground-star Ulrike S. went to the Toronto-Filmfestival and then to New York - to find out something about the film business and also about her own desires, daydreams and nightmares.

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 West Berlin couple hopes to solve their marital problems while on vacation in Spain. Instead, the tensions between the neglected and misunderstood woman and her annoyed and otherwise unsatisfied husband escalate soon afterwards. She starts an affair with her Persian masseur, he falls in love with a mute toilet attendant, whom he brings back to Berlin and takes in with himself and his two pubescent children, while the woman moves in with her masseur. But even the new constellations quickly get into crisis.

Director İsmet Elçi tells the semi-autobiographical story of Kemal (played by Elçi himself), who negotiates his identity between two cultures (Turkey and Germany), struggling to find a future as a director in the German film industry.

A Berlin woman in her early thirties is trying to handle her psychological problems and childhood trauma with the help of her psychiatrist. She is ashamed and overwhelmed by her masochistic sex fantasies.