Raffael Betzler

Two women are at the center of the film: Mela is an artist, Leila sees herself as a self-confident nymphomaniac and occasionally forgets to collect her fee from her clients. Her male counterpart Henning is a gallant, albeit loud-mouthed, chatterbox. An exciting and tempestuous ménage-à-trois develops between them - in the middle of Munich.

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.

Disturbingly, but believably, women turn their husbands into shrinking violets, only to release them into the wild when the situation calls for it.

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.