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Durante le Olimpiadi di Monaco del 1972, una troupe televisiva sportiva americana viene costretta a coprire la crisi degli ostaggi che coinvolge atleti israeliani.

Louk is deep as the sea. Manja is pure as the air. Her love means: No fear. No lie. No trace.

"Das Kübelkind" is a figure of art: in every story society forces her to learn something. But she, grown up from the moment of her birth, always learns something more than was demanded of her without being asked.

Eight Hundred Times Lonely is an eighty-four-minute non-commercial art house documentary film about famous 86-year-old German filmmaker Edgar Reitz. Anna Hepp, the young filmmaker of this documentary, meets with Reitz in one of Germany's most famous cinemas: the Lichtburg in Essen. This black and white and partly colored film's main focus is a continuous dialogue between these two people from two different generations and genders: young and old - female and male. Anna Hepp asks the film expert Edgar Reitz about if and how cinema might be fading away from Germany's media culture. They talk about the difficulties of filmmaking and the struggle to survive in this business, then and now. The bottom line of the film is: just as at some point you have to say good-bye to everything in life, friends, family, loved ones, you might also have to say good-bye to cinema culture. Filmmaking is an attempt to preserve memories forever. The film is a declaration of Love for Cinema and Love for Filmmaking.

Sedanur spends the night in Ingolstadt sorting car parts and headhunter Eva is looking for specialists in logistics automation. Two very different representatives of a generation in which, sooner or later, everyone will be replaceable.

For over half a century, the filmmaker Edgar Reitz, one of the signatories of the Oberhausen Manifesto and a pioneer of epic film narration, has explored, as a practitioner and theoretician, the rules and limits of cinema, which he always seeks to break and extend in new ways. One example of his tireless search and research are the Geschichten vom Kübelkind, which he co-directed with Ula Stöckl in 1969/70, 22 absurdly funny, subversive and anarchistic short films of different lengths, which consciously oppose all conventions, with incredible success. The films remain unrivalled in their Dadaistic inventiveness. The documentary Der Film verlässt das Kino: Vom Kübelkind-Experiment und anderen Utopien centres on how the Geschichten vom Kübelkind, now rediscovered and restored, actually came about. Edgar Reitz, Ula Stöckl, Werner Herzog, Alexander Kluge and other filmmakers and contemporaries look back on the conditions that made this and other such visionary projects possible 50 years ago. They are all concerned with the question: What will the future of moving pictures look like.