Florian Kohlert

A spirit of optimism, structural change, emancipation: by showing excerpts from his films such as LIEBE, SO SCHÖN WIEBE (1971), SYLVIE (1973), IDOLE (1976) and AMORE (1978), Klaus Lemke tells his story of the decade, now half a century ago, that was so formative for Munich, with sentences such as: "Back then, we all thought life was eating out of our hands, then in the '80s we became fodder ourselves."

The film is part of Lemkes never-ending Munich series, but this time it leads beyond Schwabing or Maxvorstadt, which makes it more entertaining than its predecessors. After a stop at the Bayrischer Hof, it moves into the Glockenbachviertel, over the Reichenbachbrücke to the Isar, further into the suburbs. These places are not alien to residents of Munich or tourists, but Lemke knows no tour guide romance. He has the usual group of main characters, two or three girls, a young man, and sends them off as if on a great expedition. They bring along the Lemkestyle, which doesn't fit in anywhere, but works like a contrast medium. Their fantasy figures make the reality around them more real.

On the run from her ex-lover, Judith hides in the toilet at the Munich Art Academy. In the basement. She wants to hijack the snobbish art scene with a scandal video.