Klaus Lemke Filmproduktion

Fischkopp Henning can't really do anything. Apart from making slogans and picking up women. When he has to deliver a strange package from Hamburg to Munich, there's plenty of opportunity to put his talents to good use.

The bittersweet love story between a 26-year-old actress at the beginning of her career and a 21-year-old call girl at the end of her marriage, set during the world cup 2006.

Ricki is 15, an apprentice in a supermarket, and admires his older brother Sven, a big shot in Hamburg's red-light district who keeps his head above water with thefts and drug deals. In Ricki's eyes, nobody comes close to his brother. It is only when Sven humiliates Ricki and tries to force him to sleep with a showgirl in front of him that the older brother loses his godlike role model status. Ricki, the “Arschbackenzukneifer”, takes revenge, and Sven will have to suffer badly on his own turf.

A film about five young people who are new to the metropolis of Berlin, their dissolute lives and the pitfalls of interpersonal relationships. One young woman ditches her boyfriend for an Italian lover as soon as they arrive from Hamburg - but he has another woman on the hook who is not yet completely finished with her ex-boyfriend.

Disturbingly, but believably, women turn their husbands into shrinking violets, only to release them into the wild when the situation calls for it.

On the run from her ex-lover, Judith hides in the toilet at the Munich Art Academy. In the basement. She wants to hijack the snobbish art scene with a scandal video.

The film is part of Lemkes never-ending Munich series, but this time it leads beyond Schwabing or Maxvorstadt, which makes it more entertaining than its predecessors. After a stop at the Bayrischer Hof, it moves into the Glockenbachviertel, over the Reichenbachbrücke to the Isar, further into the suburbs. These places are not alien to residents of Munich or tourists, but Lemke knows no tour guide romance. He has the usual group of main characters, two or three girls, a young man, and sends them off as if on a great expedition. They bring along the Lemkestyle, which doesn't fit in anywhere, but works like a contrast medium. Their fantasy figures make the reality around them more real.

The scene plays itself: The megalomaniac DJ Miles on the run from debt. Timo on the hunt for sex. Zsa-Zsa is a seamstress who lets Miles steal from her and cheat on her - but she loves him. Coco was a barmaid. Miles is killed. Coco avenges his death because Zsa-Zsa can't. Coco, who has never been in love in her life, falls in love with Timo

A failed art forger keeps his head above water through contacts with rich women, and he is particularly close friends with an old widow. However, when he becomes acquainted with her children, the artist finds himself in a precarious situation: his son dies after falling into the Spree, while his sister proves to be an unpredictable and aggressive contemporary.

A spirit of optimism, structural change, emancipation: by showing excerpts from his films such as LIEBE, SO SCHÖN WIEBE (1971), SYLVIE (1973), IDOLE (1976) and AMORE (1978), Klaus Lemke tells his story of the decade, now half a century ago, that was so formative for Munich, with sentences such as: "Back then, we all thought life was eating out of our hands, then in the '80s we became fodder ourselves."

Actually Wolfgang and Cleo are the ideal couple. Nevertheless, the scraps always fly when they are together for a long time. After the last big fight, they finally split up. Unfortunately, both start their new lives in Las Vegas.