Death (in Bavarian: Boandlkramer) is supposed to get little Maxl, but he falls in love with Maxl's mother. Confused by the previously unknown feelings, he confides in the devil. The incarnate persuades him to start a business where the Boandlkramer gets the chance to compete for Gefi as a mortal. Encouraged by the advice of the recently deceased womanizer Max Gumberger, the Boandl stumbles through earthly life in search of eternal love.
The young musician Katharina keeps afloat after completing her studies with odd jobs over water. But then her grumpy father Hubert suffers a heart attack - and suddenly Katharina has to take care of the catering company. When she learns that the company is about to go bankrupt, she tries to get the company back on track with wit and creative ideas. Nonetheless, the creditor bank is giving aside adviser Ben Hallbauer. First, Katharina is anything but pleased about this "watchdog".
Cancer patient and successful writer Lilith Winterbottom should be dead by now. But the cynical misanthrope seems to scare even death away, in order to finish her last book and find a hero's death worthy of her main character Spider.
How to become a man when your mother and your closed circle have decided otherwise? This is the challenge Guillaume took up. The film recounts Guillaume's tragicomic battle from the young age of eight, as he adopts the role of a girl then of a homosexual... until, aged 30, he meets the woman who, after his mother, will become the other woman in his life. Beyond this story of a heterosexual coming-out, the film tells the tale of an actor who never stopped loving women, maybe even a little too much.
When three teenage boys from Bavaria try to lose their innocence in the neighboring Czech Republic, they get themselves and a young pregnant Ukrainian immigrant into trouble with local pimps.
Georges, a wealthy Parisian, has a mistress who wants to marry him, but he has no intention of divorcing his wife, the source of his money. The mistress, meanwhile, has a jealous boyfriend, so when Georges dumps her, two people are angry with him. Add Georges' wife, who suspects the affair. The mistress calls Georges to say she's coming to tell his wife everything, so Georges asks Maurice, a stranger who's passing by, to pose as his wife and scare off the mistress. In this farce, nothing goes as Georges plans.
“The Antman” is a lovingly-made but sluggish monster-movie parody, done with German-speaking actors on a sparse soundstage standing in for 1950s Mexico. Promising concept is bolstered by colorful performances by Gotz Otto and Lars Rudolph, and the filmmakers have fun with pic’s look, right down to tacky lighting worthy of Roger Corman. But Marc Meyer’s script isn’t fast or funny enough to keep pace with energetic visuals. The first in a projected series of B-movie homages grouped as “Planet B,” the producers might want to call in Joe Dante to supervise the rest, as “Antman” seems unlikely to crawl very far beyond its native borders