Depicts Carl Andersens uncommon art and life. Born in Vienna, the capital of Austria in 1958, he participated in the development of Viennas subculture through his bar called "Fun Factory". It was a unique place to have some cheap drinks, see strange movies and join concerts in the cellar. He also influenced the Viennese film community by bringing art house and underground movies, like "Liquid Sky" (1982), or "The Texas Chainsaw Massacre" (1973) in uncut versions to the theaters. As he was a film maniac he started to direct movies by himself. His first two movies "I was a Teenage Zabbadoing" (1988) and "Mondo Weirdo - a Trip to Paranoia Paradise"(1990) became underground classics. In the late 80's Andersen went to Berlin. There he directed and produced more than 10 No-Budget movies. Diffic ult relationships and the process of filmmaking itself were his main themes. He got lost in alcoholism and committed suicide in August 2012.
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.
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.
Lola L., a washed-up travesty star, is extremely taken with the shy, young Turk Hasim when he comes into her dressing room and wants to get to know the famous artist. While her main aim is to lure him into her lottery bed, he remains steadfast and is only interested in Lola helping him with his career. Soon enough, he outflanks her, and the deregistered Lola is forced to realize that jealousies and intrigues have now caused the situation in her travesty theater microcosm to spiral out of control.
Julchen is the "feminine" (transvestite) and definitely motherly half of a couple of homosexual men, the "co-fathers" of a pleasant part-Moroccan girl. The girl has been told that her mother is dead, but Julchen knows this is not true.
A Turkish woman with a Marilyn Monroe obsession hooks up with her new neighbor, an Arab. Although the young man occasionally intones Elvis Presley songs to the guitar, as requested by her, the relationship soon falls into crisis, especially since the fun-loving single mother also begins an affair with a blonde who bears a vague resemblance to Monroe. The love potions are watched curiously and commented on by other residents of the Kreuzberg apartment building.
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.
No one in Germany can more justifiably call himself an independent filmmaker than Lothar Lambert: 41 films to date since 1971, almost all financed out of his own pocket, as producer, director, screenwriter, actor and, time and again, as editor, cameraman, sound man and distributor. Cinema about sex and longings, self-realization and psychological deformities, desires, the weal and woe of the little-noticed in the (initially only West) Berlin urban jungle. And it is as authentic, shocking and tragicomic as you rarely find in this country. Because they were unusually weird and "dirty" in terms of content and form - especially for the well-behaved German standards - Lambert's works were quickly classified as "underground" in the seventies. And have recently been increasingly ignored by critics and film historians. Having long since become documents of the zeitgeist and thus of contemporary history, it is long overdue to (re)discover these works.
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