At summer camp, young Bibi and her friends are pitted against the boys in a treasure hunt. But what's a witch to do when she loses her powers?

When robbers hit Falkenstein castle, teen witch Bibi and pal Tina hunt for the crooks, then devise a plan to save the neighbors' failing ranch.

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 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.

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.

Two angels, Damiel and Cassiel, glide through the streets of Berlin, observing the bustling population, providing invisible rays of hope to the distressed but never interacting with them. When Damiel falls in love with lonely trapeze artist Marion, the angel longs to experience life in the physical world, and finds -- with some words of wisdom from actor Peter Falk -- that it might be possible for him to take human form.

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.

FREAK ORLANDO is divided into five more-or-less distinct sections, all featuring "Freak" Orlando, a woman, played by the late Magdalena Montezuma, who appears in various guises, and deformities, throughout.

The Political drama shows the denunciation and persecution of the 19-year-old Sanne in the Nazi state. After she falls in love with her cousin, Sanne is betrayed by her jealous aunt to the Gestapo.