Lothar Lambert

Polizeiruf 110 is a long-running German language detective television series. The first episode was broadcast 27 June 1971 in the German Democratic Republic, and after the dissolution of Fernsehen der DDR the series was picked up by ARD. It was originally created as a counterpart to the West German series Tatort, and quickly became a public favorite.

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.

A West Berlin couple hopes to solve their marital problems while on vacation in Spain. Instead, the tensions between the neglected and misunderstood woman and her annoyed and otherwise unsatisfied husband escalate soon afterwards. She starts an affair with her Persian masseur, he falls in love with a mute toilet attendant, whom he brings back to Berlin and takes in with himself and his two pubescent children, while the woman moves in with her masseur. But even the new constellations quickly get into crisis.

The coming-of-age story of a 23-year-old woman from West Berlin who, in particular, breaks free from her emotional dependence on her insensitive, selfish boyfriend, who doesn’t take her seriously. Due to her own relationship problems and depression, her mother attempts suicide. The young woman finds a new partner in an immigrant from Sudan.

Berlin Underground-star Ulrike S. went to the Toronto-Filmfestival and then to New York - to find out something about the film business and also about her own desires, daydreams and nightmares.

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The story of a short but intense friendship between two very different women in Berlin. Mascha, in her mid-30’s, worked as a television editor for years before dropping out to make two self-financed and unexpectedly successful theatrical films. At the moment, she is taking a break – she’s run out of ideas. Her plight is made worse by her boyfriend Frank’s unsympathetic attitude. He is a head of production, from a working class background, an unscrupulous career man, and won’t tolerate an unsuccessful woman around him. In the midst of this exasperating mess, Mascha meets the ‘’wolf girl’’, Dennis, a young black rebel who works as a cleaner in a theater. The girl fascinates Mascha and she finally breaks her long, loveless relationship with frank so she can spend more time with Dennis. The two women move in together: Mascha because she wants to turn the simple ‘’wild’’ Dennis into a more sedate person, and Dennis because she has secret hopes of finding human warmth and shelter.

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

Director İsmet Elçi tells the semi-autobiographical story of Kemal (played by Elçi himself), who negotiates his identity between two cultures (Turkey and Germany), struggling to find a future as a director in the German film industry.

Eight short episodes about the psychological and sexual hardships and joys of people in West Berlin at the time: two old-school bourgeois women chat with each other on the street, between the Theater des Westens and a peep show. A woman's session with her psychotherapist takes an unexpected turn. Two men spontaneously arrange to meet for a tête-à-tête, but are in for a surprise. A vagrant tells of her recent experiences and longings. Two young women become unprofessional while watching a porn movie. Two foreigners make a discovery while having sex with each other. A painter finds new inspiration in an unconventional way. Dieter Schidor and Ingrid Caven chat with each other on the street, between the Theater des Westens and a (former) peep show about sex in the age of AIDS.

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.

An African-American GI retires from the US Army in West Berlin to live with his white girlfriend, who already has a baby with another black man. After an argument with her family, she deserts him as well. Despite finding a job and a new place to live, he keeps running into racism, which also manifests itself in sexual intimidation.

The actor Holger Miesbach can no longer pursue this or any other profession, for psychological reasons and despite ongoing psychiatric treatment. While his mother offers telephone sex, where she pretends to be a minor and always forgets to get paid, he devotes himself to painting, but above all to his childhood passion for collecting autographs. When the actress Gloria Mundi, who had celebrated success as a teenager with revealing scenes, but who had killed her mother and her lover in Hollywood in 1961, returns to Berlin, Holger's penchant for the washed-up star becomes obsessive.

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.

A treatise on love and desire tainted by harsh reality of capitalism, in which submission to the laws of lust-as-commerce is played out by five prostitutes and their pimp, who pits them against one another so that they are incapable of standing up to him collectively.

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.

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.

Looks like an alien, sings like a diva - Klaus Nomi was one of the 1980s' most profoundly bizarre characters to emerge through rock music: a counter tenor who sang pop music like opera and brought opera to club audiences and made them like it. The Nomi Song is a film about fame, death, friendship, betrayal, opera, and the greatest New Wave rock star that never was!

Two shady businessmen set out to shake up the West Berlin funeral industry - with unconventional ideas and questionable methods. To this end, they take over the business of a long-established mortician who wants to retire. One of them also hooks up with the colorless daughter of the chairman of the local mortician's association in order to get money and his father's customer list from her. Meanwhile, his partner has to deal with his wife and their equally nagging children. And then the establishment strikes back. At the same time, the unmarried newcomer to the industry discovers that he does have real feelings for the association chairman's daughter.

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)