Faux Pas de Deux

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)

Prostitutes, drunks, gays, senior citizens, and children, pass through one of the world's most famous parks.

A man tries to liberate himself from a puritan-minded sister, mother, and girlfriend. The movies are his way out -- and at one late show he sees himself on the screen and begins to mix fantasy with reality.

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.

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.

A in West-Berlin stationed African-American GI retires from the US Army to live with his (white) girlfriend, who has a baby with another Black man. After a row with her family she deserts him as well. Despite him finding a job and a new place to live, he keeps running into racism, that also manifests itself in sexual intimidation. (from: http://www.lotharlambert.com/1-berlin-harlem.html)

A collection of short stories on the topics of mental illness and death.

The trans-star Lola is very pleased when the sh and young Turk Hasim visits her dressing room. Hasim wants to get to know the famous artist.

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.