Uwe Ochsenknecht

Anouschka Renzi

Michaela Galli

Yvonne Kupper

Thomas Hostettler

An advertising man, young, casual and a yuppie, stands up his girlfriend and suddenly finds himself relegated to the role of the fifth wheel, which seriously questions his self-esteem.

A series of loosely connected skits that spoof news programs, commercials, porno films, kung-fu films, disaster films, blaxploitation films, spy films, mafia films, and the fear that somebody is watching you on the other side of the TV.

Comedian and actor Joe Valencia returns home for an Easter celebration with his riotous, bickering, eating, drinking, laughing, loving family, in this love letter to the Filipino-American community.

Two lost souls visiting Tokyo -- the young, neglected wife of a photographer and a washed-up movie star shooting a TV commercial -- find an odd solace and pensive freedom to be real in each other's company, away from their lives in America.

A look at what goes on backstage during the last broadcast of America's most celebrated radio show, where singing cowboys Dusty and Lefty, a country music siren, and a host of others hold court.

A commercial artist with a lisp chooses silence, unexpectedly propelling his career. His perceived innovation leads to rapid advancement in an ad agency. Mueller-Stahl shines in this biting critique of East German workplace culture.

An advertising man is slowly sliding downhill. When he is fired from his job in Detroit, he signs up for unemployment. One day they find him a job: teaching thinking skills to Army recruits. He arrives on base to find that there is no structure set up for the class.

A rich farmer is well known for being very unkind. He's misanthropic, misogynous and cantankerous. Until he meets by chance a gorgeous girl...

Edward Kaminsky, an aging ad man, wants a golden parachute from his agency; he must first land the Opel auto contract. Rosa, a youth with wealthy parents, wants to establish herself as an artist. The clumsy and enthusiastic Viktor, not quite honest, wants work. When he wanders into Kaminsky's meeting with Opel and says something about irony, the Opel director wants him in on the campaign. Then he steals an idea from Rosa that the Opel director loves. Before Rosa discovers he's expropriated her idea, Rosa and Viktor become lovers. Father-son feelings materialize between Kaminsky and Viktor. Can the impulsive Viktor hold it together before Rosa learns the truth and flies away?