Lothar Lambert Filmproduktion

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.

The edgy, quirky, nearly disposable life of marginal Berliners. Four mediocre existences are on an increasingly desperate quest for love and sexual satisfaction in the urban jungle of West Berlin.

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)

The two brothers Alfred and Hans are very different, one, a mummy's boy, still hopes for the great love at 35, the other enjoys life as a womanizer. When their mother dies, their lives change. Mama's boy Alfred and Don Juan Hans fall in love with the same woman. Their beloved is called Angelika who is in her mid-30s, works in a travel agency and considers herself emancipated. She has not married the father of her now 18-year-old daughter. All parties involved change as a result of the courtship of Angelika. The sad Alfred becomes a radiant lover, the womanizer starts thinking and Angelika herself feels younger and younger.

A simple tax collector suffers from a deep depression. He flies from his dominant mother to a dangerous company in violent left-wing circles. And discovers a cure for his impotence.

Half-travelogue half Lambert’s fictional attempt to find his identity in the gay crowd in Central Park, Harlem, and Brooklyn.

Horst Deppe and his friend Michael Böhmke discover a gap in the market and open a funeral home based on the latest American market strategies. To raise capital, Michael has approached "the ugly duckling" Christine Barnewitz, daughter of the head of the association of funeral homes. Thanks to her, business is booming, with one new branch opening a week. Counter-actions by the head of the association, Friedrich Barnewitz, are successfully fended off. Michael, who is unscheduledly in love, tries to win over Christine, whose pride has been hurt. Father Barnewitz changes his strategy and tries to win over the young entrepreneurs. Reflective frame narrative in which the bit players in the film watch their appearances on television together.