Anishoara is a 15-year old girl living with her grandfather and little brother in a small village among the rolling green hills of Moldova. Her life is marked by the quotidian rhythms of country life; in summer she feels the overwhelming sensation of first love when on a trip with friends to the melon harvest. In autumn a strange German tourist disrupts her otherwise calm existence.  In winter she travels for the first time to the sea alongside the young man with whom she fell in love. In spring she longs for her lover's return, but when that moment comes it's not what she expected.

Three young Georgians have to clean a castle in Berlin, where a German arms manufacturer's art collection is being set up for an exhibition. Of course, the proletariat isn't welcome at the opening party and they are banished to a servants' room in the attic. Downstairs, however, a splendid buffet attracts them - so why not just ignore the unfair prohibition and cross the line of class society? Didn't the French Revolution start over a piece of cake?

Berlin, a summer in the age of neoliberalism: the spectre of the soviet avant-garde is haunting the city. A young Georgian contract-worker is surprised to find the ghost of the Russian revolutionary poet Vladimir Mayakovsky in his kitchen. At the same time, his friend Kasimir inherits a big fortune, but what shall he do with all this money? Framed by a travel through time leading to Flaubert's 19th Century und the shooting of a revisionist melodrama for German television, the film follows the adventures of these three characters in contemporary Berlin. A suprematist digital comedy about the transmission of emancipatory energies.

A director (Hanns Zischler), his fiancee (Vera Tschechowa), a scriptwriter (Rudiger Vogler) and a student interact and discuss their emotions, at length.

A film about the time of the blast furnances - 1917 - 1933 - about the development of an industry, about a perfect machinery which had to run itself to the point of its own destruction.

Interdisciplinary studies put into practice is a plane on which HaF's interests and mine coincide. Ideas of fictional research projects in films emerge very early on, or of film as research device, allowing people from different disciplines to come together and discover something, to pursue a line of thought, or just be adventurous. These ideas correspond to a tendency we both have of accumulating knowledge from different sciences, for example so as to bring exact sciences like medicine together with subjects which aren't directly aimed at application, such as religious studies or anthropology.