Fiction/documentary hybrid filmed on Leopoldstrasse, Munich.

A comedy directed by Martin Müller.

An early short by Wolfgang Büld, in which he wanted to depict the pleasant, mundane songs and movies of the 50s. The film was supposed to be like a song by Peter Kraus or Ted Herold.

After 7 years spent in jail Paul is free again. With his old crew he celebrates his return.

Fashion model Sylvie falls asleep drunk in the cab of Munich taxi driver Paul, and an impossible love affair beckons. Renegade director Klaus Lemke had previously startled German TV audiences with the biker drama Rocker, announcing an unprecedented, unvarnished freshness and authenticity with nonprofessional actors, real dialect and on-the-fly style. In Sylvie, he adds a disarming tenderness.

Another Ernst Hofbauer schoolgirl exploiter in the same vein as his Schoolgirl Report films, but for this one he raised the sleaze level to new heights with non-pornographic scenes of rape, pedophilia, satanic rituals, virgin sacrifice and golden showers. Despite how it sounds, these acts are played for silly comedy rather than any harsh depictions.

In Hamburg, West Germany, a rocker biker gang helps a kid avenge his brother who was murdered by a two thugs.

"The film starts with a shot of a cassette recorder, and it has a juke box in it. There’s always music in it. When I was asked by some critics at a festival press conference what the film was all about, I said 'it’s about the song All Along The Watchtower, and the film is about what happens and what changes depending on whether the song is sung by Bob Dylan or by Jimi Hendrix.'" Well, both versions of the song appear in the film, and everybody thought I was pretty arrogant to explain the story this way. But the film really is about the difference between the Dylan version of All Along the Watchtower, and the Jimi Hendrix Version. One is at the beginning and one is at the end." – Wim Wenders