In Schrofhausen, entertainer Ricky Sokatoni is a star already. But his sister and manager, Tanja Freitag, has even greater plans for him. Together they will conquer the big world of showbiz! Even Ricky’s beloved mother, herself a TV starlet of the 90s, knew it: there is something very special about Ricky. And to the dead, nothing must be denied. Ricky knows that, too. So he allows himself to be talked into a big, supposedly dazzling tour, despite the worst of stage fever. But are the small stages of the Bavarian village landscape really the right place for him?
Between the Ballermann queen, ever-increasing egos and Tanja’s shakily constructed lies, the two mercilessly fall on their faces. And the deceased mother turns over in her grave.
“Showbiz serves as a catch-all for lost souls in BIS ES MICH GIBT. In this microcosm, it’s not the world stars who gather, but those who would have liked to have become stars. I think many people understand the desire for recognition. For someone to say, ‘You’re good just the way you are!’
In this case, it’s not just about fame. It’s about earning significance in this world. Ricky and Tanja have never learned that they are somebody, no matter what they do. That’s why they feel they have to prove themselves all the time. It is this tragic-comic tightrope walk that I look for in my films.”