Jürgen Brüning Filmproduktion

A young Canadian woman who sings in Kreuzberg in a rock band, and her boyfriend, who lives in a politically active flat-sharing community. Due to the new capital situation, demolished buildings suddenly become sought-after buildings. The living and working situation of the musicians and other scene-people deteriorates massively.

It is the year 2060 and AIDS has been eradicated. However, in some, the HIV virus has now mutated into a gene from which a drug can be produced that has become the white powder of the twenty-first century. With a virtually supported scanning system, secret police are trying to identify anyone who carries this gene. Filmed in Berlin, Taiwan-born multimedia artist and filmmaker Shu Lea Cheang’s science fiction dystopia revolves around a struggle to gain control over the production and exploitation of bodily fluids. Her film is like an orgiastic opera; a breathless round of bodies, secretions, performances and sexual acts often performed in the service of an overriding economy. An unusual, largely experimental and deliberately parapornographic drama in which the borders between the sexes as well as homo-, hetero-, bi-, trans- or intersexual are constantly blurred.

Cyrus, Tim and Erik were high school buddies and meet again ten years later. They spend the summer together in Brazil. All of them are occupied in dealing with experiences from their past but new developments make them face their inner conflicts and their friendship with each other

Gudrun has modeled her amateur German terrorist group after the 1970s Red Army Faction (Baader-Meinhof Gang). She attempts to imitate her heroes by kidnapping the son of a wealthy industrialist and hopes to negotiate leftist demands from the father. When Gudrun’s not spouting leftist verses (including during a hilariously brilliant fuck session), she’s trying to convince her all-male gang to abandon their heterosexuality, which she believes is the result of mass delusion.

UKI’s storyline unfolds as we follow a defunct replicant REIKO dumped on Etrashville - a vast dump for tech - who tries to pull themselves back together with the help of Etrashville's transgenic inhabitants. Parallel to REIKO’s trajectory is that of an infected city where we are made aware of the reckless schemes of the biotech enterprise, GENOM Co.

Several short films about troubled gay youngsters who attempt to resolve their psychological issues through bizarre fetish play or sinister self expression.

Reminiscent of Sunset Boulevard, the action is transposed from the silver screen's old backlots to contemporary male prostitution and the pornographic industry.

Rosa von Praunheim, an icon of German gay cinema, talks about gay subculture, while his words are countered by statements from gay strippers in San Francisco who discuss their work and their business.

With things growing a bit stale in the bedroom, lesbian couple Claudia and Dylan agree to seek sexual experiences outside their relationship. Dylan discovers new pleasures at a sex club, while Claudia, in drag as Claude, finds a surprising partner.

A young zombie named Otto appears on a remote highway. He has no idea where he came from or where he is going. After hitching a ride to Berlin and nesting in an abandoned amusement park, he begins to explore the city. Soon he is discovered by underground filmmaker Medea Yarn, who begins to make a documentary about him with the support of her girlfriend, Hella Bent, and her brother Adolf, who operates the camera. Meanwhile, Medea is still trying to finish Up with Dead People, the epic political-porno-zombie movie that she has been working on for years. She convinces its star, Fritz Fritze, to allow the vulnerable Otto to stay in his guest bedroom. When Otto discovers that he has a wallet that contains information about his past, before he was dead, he begins to remember details about his ex-boyfriend, Rudolf. He arranges to meet him at the schoolyard where they met, with devastating results.

Far from the dictates of current female beauty, MBMR focuses on these other bodies, those who take up space, those that stain, biters, those who devour, those who enjoy as they wish, those age and those who are self-transformed, those who are free and wild. Eight people will reveal the magic,cruel, sensuel, powerful relationship they have with their own bodies.The adventure of the film is multiple: the objective is to give voice and images to women whose body or sexuality is seen as non-standard, unseen or without speaking. The film will highlight possible resistance through an intimate portrait gallery, collective experimentations, tantra, exchange of fluids and knowledge, rituals… A strong political and feminist manifest about body politics, female sexuality and its representation, as well as about diversity and various forms of sexual desire.

A lonely hairdresser watches the title sequence of "That Cold Day in the Park" then visits a local park to invite a down-and-out skinhead to his apartment. He draws the silent man a bath and talks to him as he soaks. He locks his guest in a bedroom. Next day, the skinhead leaves through the window and visits his sister, who's making a film called "Sisters of the SLA." He helps with a screen-test. The hairdresser has dreams and fantasies involving the skinhead, the skinhead returns to visit him, and then the filmmaker pays a call on the two men, exposing her brother as faking his silence and pretending a lack of sexual interest. Fantasies can come true.

A cute, openly gay latin boy's hormones go into overdrive when his hunky cousin Angel arrives for an extended stay. The two explore the young and sometimes dangerous gay scene in the city's Latin neighborhood, with surprising outcomes.

Brother and sister live in Athens; then they start a road trip.

Referencing sixties B-movies like THEY SAVED HITLER’S BRAIN and THE BRAIN THAT WOULD NOT DIE, ULRIKE’S BRAIN finds Doctor Julia Feifer (Susanne Sachsse) arriving at an academic conference with an organ box. Inside the box: the brain of Ulrike Meinhof, which was saved by the authorities along with the brains of the three other leaders of the RAF after their deaths in Stammheim prison. Doctor Feifer can communicate telepathically with Ulrike’s brain, which is directing her to lead a new feminist revolution. To that end, she is searching for the ideal female body to transplant Ulrike’s brain into. At the same time, her arch-rival, Detlev Schlesinger, an extreme right-wing ideologue, arrives at the conference with the ashes of Michael Kühnen, the former German neo-Nazi leader and infamous homosexual who died of AIDS in 1989. When the two Frankenstein’s monsters of the extreme left and the extreme right meet, chaos ensues.

Zalman Shoshi, born in Haifa to Holocaust survivors, grew up in a home marked by violence and trauma. As a teenager, Zalman ran away from home and survived by working as a sex worker. Later, Zalman reinvented himself as Shoshi, Israel's first transgender celebrity, who was both revered and feared. Their path also led to Berlin: a divided city where Holocaust survivors reopened bars, brothels, and peep shows, and where Israeli trans women found both refuge and danger.

Two men are in a fishing boat talking. One feels more than one sees that the seawater around them is warm and smooth, teeming with brightly-colored fish. By night, the rubber plantation also comes across as enticing and full of secrets, until lurid reminders of the bloody massacre flash up.

Set in dystopian Oakland, an ex-techie trans woman uses pirated AI technology to control a young trans lover, but their love and revenge plot against a DNA-harvesting corporation unravels, leading to unexpected consequences for all.

Documentary montage on the theme of skinheads in Germany and the sexual fascination for them held by many homosexuals, which has a historical dimension in the same tradition as sailors, builders and men in leather being idolized objects.

A soap opera inspired by 80s dramas, following German mogul Michaela von Baer as she battles enemies to protect her company, “Von Baer Enterprises.” Her cousin, Russian starlet Clarissa Oktavia, is presumed dead by her psychiatrist, Dr. Ingolf Robert, but returns alive. Michaela’s nemesis, policewoman Penelope Stöcker, seeks revenge for her father’s suicide. Michaela loses everything and returns to Monaco. Police Inspector Brigitte Hasentritt, who investigated Clarissa’s murder, becomes a central figure, marrying one of Michaela’s ex-husbands, owning most of the company, and facing vampires and attack dogs. By the series’ end, all characters are vampires, crossdressers, or insane. The finale shows Clarissa being eaten by Penelope and Brigitte, Dr. Robert impersonating Clarissa, and Michaela dying from choking on a cheeseburger.