Tales of the Dumpster Kid

Is life like the fairy tale of Lucky Hans, who lost his lump of gold when he swapped the life he had, for what he thought was a better one?

Angela and Robert have been married for ten years and make a perfect couple. They are madly in love with each other, give each other plenty of space and support each other in everyday life. This idyll is put to the test when Robert's girlfriend Claudia moves in with the couple and Angela falls in love with another man. According to a mutual agreement between Angela and Robert, anything goes if one of them breaks their promise never to leave the other.

Dea, gynecologist and scientist, and her colleagues have for the last few months been preparing a campaign against the local pharmaceutical industry. A campaign, which is linked to Dea's published findings concerning harmful side effects of the pill. For years Dea and her husband Rheinhard have been defending opposing sides as to the culpability of the company. Rheinhard, who is also a leading scientist like Dea, is a high-ranking employee of the concern. In the meantime Reinhard and Dea's 2 daughters have grown up. The daughter of the company's boss, Johanna, is Dea's assistant and Reinhard's lover.

In this mystery/thriller based on a novel by Patricia Highsmith, Nico Thomkins (Udo Schenk), a writer, and his wife Helen (Anke Sevenich) are in the habit of playing games with one another. Even while they are breaking up, they are sufficiently in tune with one another to continue this practice. When the writer's wife takes off without leaving a note behind, people begin to suspect that he may have murdered her, and he plays along with this notion to the point of planting clues which would incriminate him. Obviously, no one with a shred of common sense would do such a thing, and these tricks get him into trouble. However, his troubles don't really begin until he starts to search for her in earnest.

Eva is a single freelance painter. She is in love with a married man. She pretends that she never waits for him, and if he suddenly turns up she acts as if she is surprised. In reality the unresolved relationship is making her so depressed that her work is the only thing that is saving her. In an attempt to break her addiction she enters into a relationship with another man. But the balance she is looking for eludes her, as now she has to choose between the two. But Eva can't: she wants to have an entire life, not part of one. In the form of a sort of filmic diary, Eva now attempts to sort out the puzzle, which is her life.

Eleven-year old Jason and his companions, including Hercules and Orpheus, go with the ship "Argo" in the search for the Golden Fleece. With wit and cunning to overcome various obstacles until they reach the destination of their fantastic journey. The experiment is not only due to the popularization or naive glorification of a myth, but the search space occupied by fact that the heroes of antiquity were actually very young.

A woman experiences psychic disintegration and ends up in a psychiatric hospital.

An impoverished young man from Sicily travels to Wolfsburg, West Germany to find work. He takes a job in the Volkswagen factory after he travels through Northern Italy by train.

Five more-or-less distinct sections, all featuring "Freak" Orlando, a woman played by the late Magdalena Montezuma, who appears in various guises and deformities throughout.

Elizabeth is a young woman who seeks happiness excessively burning out all those around her.

In the summer of 1967, journalist Katharina is visited in Munich by her French friend Anne. They take day trips and visit cafés, acquaintances, and parties. In a series of conversations between them and other women, they talk about the chances for female emancipation in a male-dominated society.

Erika and Franziska haven't seen each other for 4 years. 10 years earlier they both felt that they had the same chances in life: both were young, attractive and imaginative. They overlooked what would, right from the outset, separate them: their very different emotional make-up, their different character. In a long nighttime discussion the friends try to clear up these differences - not without some glimmer of hope.

‘The films I make have to get made, because when these people are dead they’re dead and all we’ll have left are Gestapo records, the records of the perpetrators. We can’t accept that.’ This quote graces the beginning of Katrin Seybold’s last film which was finished by her long-standing friend and colleague Ula Stöckl following Seybold’s death on 27 June, 2012.