This film deals with the contrasts of the Wilhelminian era in Berlin: the splendor of the monarchy, the economic and intellectual vitality of the up-and-coming imperial capital on the one hand, and the misery of the proletarians in the tenements on the other.
Playwright and director Nils Wijn brings his relationship issues to the stage. In his play "The Whore, the Virgin, and the Dying Man," he has his girlfriend Tessa appear in revealing lingerie and takes her to a real prostitute for some practical lessons.
Maria since childhood was directed by her father to become a nun. As a result of her father's cultivation of a rigid appreciation, Maria always feels awkward, including the delinquency that is common for a girl.
The weekly brass band rehearsal is an enjoyable, light-hearted occasion. Then Mathew, the conductor, introduces James, a newcomer to the village, who is an enthusiastic bandsman from the north, where they do these things properly.
In this film, Humbert is on the trail of his own history. Wolfsgrub is the name of the house where Humbert's mother lives, and though she is getting on in years, she becomes young again as she answers her son's questions.
The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
In this daring follow-up to The History of White People in America, comedian Martin Mull takes us on an in-depth look at such topics as White Religion, White Stress, White Politics, and White Crime.