A naive girl's love for Switzerland is put to the test in this satiric comedy. Irina is a woman from Russia who all her life has always been fascinated by Switzerland and longs to live there some day, though her notion of Swiss life has more to do with Heidi and old movies set in the Alps than reality.
Italy gives sponsors the choice between banishment and prison. Mario Adorf decides to go into exile.
A married university professor ends his explosive affair with a female student who then accuses him of sexual harassment. A satire with plenty of situation comedy about a misstep with consequences!
A black comedy about the dream of freedom and the difficulty of obtaining this: While Molly (Eva Mattes), Elisabeth (Katja Flint) and Maria (Ornella Muti) are great friends, but at the same time completely different. Molly is a difficult stressed housewife and mother of three children, Elisabeth is the perfect career woman and Maria uses already in their third marriage sex appeal to get ahead in life. But one day it turns out that the three except their friendship still connects another great thing in common: They are all tired of her life as a wife. And so begins the story of a rabenscharzen comedy about the dream of freedom and the difficulties to achieve this. The only question is: How are they merely their husbands going on?
Reinhold Schünzel is one of the most sought-after actors and directors of cinema of the Weimar Republic. When the National Socialists come to power in 1933, he just releases his legendary gender comedy “Viktor and Victoria“. Despite his Jewish faith, Schünzel is under the special protection of Hitler and can work unhindered due to a special permit. But Schünzel's days in Germany are also numbered. In his sparkling and pointed artist portrait, director Hans-Christoph Blumenberg tells about the rise and fall of Reinhold Schünzel. The grandiose Peter Fitz mimes a charming, witty and ambitious director. By letting some performers play several roles, Blumenberg cleverly illustrates the recurring conditions with which Reinhold Schünzel faces everywhere. Schünzel's irony, language joke and sophistication in particular congenially transfers Blumenberg to his film.
Germany in the Thirties. A movie teller realizes that his profession is not longer needed. Silent movies are not produced any longer. Telling stories is the only thing the man was ever good in, so he does not know what to do now. As political circumstances are changing dramatically these days in Germany, he gets new hope that things will again be going better for him...
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