Karola Hattop juxtaposes the many media images of confident working women and the men who support them with a naïve reporter who finds out that in practice equal rights are often quite a different matter. Somewhat pushy, he seeks out women at the hairdresser’s and in the maternity wear department, joins functionaries in their cars, crashes wedding parties and sneaks into museum tours for children. A revelatory curiosity full of the casually captured mundane drabness that was often revealed more clearly in student films than in comparable DEFA productions.

The women’s committees in the GDR factories promote the technical and ideological-political qualification of female staff members. However, the film identifies deficits in the women’s private environment, since the men by their side often support their professional development only to a limited extent and the women’s multiple responsibilities persist despite state support.

Coal briquets hit the waggon with a thundering sound, are loaded, unloaded and finally end up in the houses of Prenzlauer Berg. Renate Uhle is the owner of a coal shop run by her family since 1922. Together with her men – Klaus, Kalle, Manne, Erwin, Pummel, Felix and Würstchen – she sees to it that no one in the neighbourhood freezes. Work is hard, the afterwork beer obligatory, and Renate’s tongue quick and sensitive. Helke Misselwitz follows the workers on their chugging diesel-driven ants through the streets and the watershed year of 1989, sweats with them as they climb up endless stairs and listens to them through the cigarette smoke.

On the occasion of the GDR Landeskulturgesetz (Law on the Conservation and Protection of the Environment), passed in 1970, the speaker explains the various aspects of environmental protection through vivid, visually pointed examples. The film repeatedly refers to the fundamental contradiction between exploitation and preservation of nature in a developed industrial state but is unable to resolve it.