Albert Kittler

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.

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.

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.

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)

Lola L., a washed-up travesty star, is extremely taken with the shy, young Turk Hasim when he comes into her dressing room and wants to get to know the famous artist. While her main aim is to lure him into her lottery bed, he remains steadfast and is only interested in Lola helping him with his career. Soon enough, he outflanks her, and the deregistered Lola is forced to realize that jealousies and intrigues have now caused the situation in her travesty theater microcosm to spiral out of control.