The wonderfully anarchic Berlin comedy “Black sheep” by Oliver Rihs (“until we are dead or free”) has now been on our hump-and has become a cult despite (or precisely because of its likeable trash factor, the shrill and high entertainment value over time for many fans. From today's perspective, not least, the occupation of the polarizing low-budget production, which conquered the festival world in 2006, is remarkable: After all, with Tom Schilling (“Work without Author”), Robert Stadlober (“Führer and Seditorial”), Milan Peschel (“Stop on the open”) or Marc Hosemann (“The Discounter”) counted a whole series of actors to the cast Even then there were no more unknowns, but still had the zenith of their career.
On this point, the continuation that is almost entirely completely different is “#Schwarzschafe“Clearly from her predecessor-after all, stars like Jella Haase (” Chantal in the fairytale country “) or Frederick Lau (” One for the Road “) are there several actors who have long been firm sizes in German (mainstream) cinema. But otherwise the film, arranged again in loosely, feels a little different for whom Milan Peschel, Jule Böwe, Robert Löhr and Marc Hosemann, in front of the camera: While Rihs completed the feature of the Berlin zeitgeist and at the same time witty about inzestual satanism, tail -controlled or long -strength Telling arrogant Munich tourists, this time Rihs fully focuses on the big debates of our time. The calculation is still up – and how!
Toy seller Delphine (Jella Haase) specializes in fluid gender dolls.
The capital is sweating: there are record temperatures in Berlin. It hasn't rained for weeks. Only one of several symptoms that causes the Neukölln clan boss Omar (Yasin El Harrouk) to rethink his lucrative activities in drug trafficking from one day: Much to the delight of his aroused daughter Dalia (Norah Estelle Martha Malachowski), Omar Schlüslicht reduces the size of his CO2 footprint and is also determined, his boys are determined for the first time To form climate -neutral clan in the world. The fact that the dismissed dealer Kafka (Marc Hosemann) does not get to Omars cocaine because he temporarily stored the fabric on the balcony of the chaotic hobby beekeeper Fritz (Frederick Lau) and who accidentally administered the little ones.
Peter (Milan Peschel), which is currently working as a swamp crab fisherman, has other concerns: The clammy life artist wants to offer his invasive crabs from a regional catch at the Greenhub Mass of the Munich Schnöels Stefan (Robert Lohr) in Berlin and promises him a “gastronomic orgasm”. But he fails with his request because his partner Francesco (Alexander Schubert), who also works as a callboy, lets him hang. Meanwhile, his annoyed wife Charlotte (Jule Böwe) has to find an expensive birthday present for her demanding son without cash – and hits Omar and Fritz 'sister Delphine (Jella Haase) in the toy shop. There she tries vigorously to bring her fluid gender dolls to the man, but then lets Omar's credit card go with you …
Little deep, total madness
Climate crisis and drought, gender fluidity and feminism, e-mobility and sustainability: Swiss filmmaker Oliver Rihs, who has brought five people on board with Ana Cristina Tarpo, Daniel Young, Oliver Keidel, Ziska Riemann and Melanie for the screenplay, which is used in 2025 every day appear in clicks of the headlines, campaigns and social media posts. The anti -social networks themselves also get their fat away: The hashtag in the film title alludes to TikK and Co. – and the much -geled reel of an activist, together with a heat -related weakness, is the trigger that the criminal Omar prevails his little sustainable action so far.
Whether the film ages with these topics as well as its predecessor will be shown, and new aspects hardly add to social stimuli topics. To do this, he uses them as a steep template for fireworks of crazy absurdities and bizarre encounters. The pitch -black dialogue witz rarely goes next to (“Are you off again at the fashion discounter?”). The individual action strands – Omar's climate protection offensive, which is based on “Thelma & Louise” spontaneous trip of women, Peters Eternal Fight against their own failure and Fritz 'try to get to the drugs in the beehive – hold together and curious entanglements of the ensemble: Coincidentally, the women and omar will happen. Callboy, by chance, organizes the Grünwalder Stefan, who already attacked Charlotte in “Black Schafe”, the Greenhub on BER. The metropolis of Berlin, captured on both tourist spots and in dirty backyards, is sometimes a village.
Not a good idea: Hobby beekeepers Fritz (Frederick Lau) accidentally fed his dear animal…
The pleasure does not reduce the pleasure of this less likely arrangement: Anyone who liked RiH's weird underdog comedy from 2006 should also be found in the aesthetically refurbished sequel. Instead of dreary black and white and dim low-budget look, “#SchwarzSchafe” presents itself in the brightly colored candy look. The fast cuts and the shaky hand camera also underline the high narrative pace. Here are not only the bees on speed! The philosophical-deception of the unmistakable off-voice of Katharina Thalbach, in turn, meet the soundtrack for booming electrical beats, South American dance music or Richard Wagner's walks-you can hardly mix a soundtrack. All of this fits perfectly with the brooding-hot summer spectacle, which we can enjoy relaxed in the air-conditioned cinema.
Unlike in “black sheep”, the various storylines, of course, generally generate all of the same entertainment value at no time. In addition, you are spiced up with likeable cameo appearances, as we know from many German mainstream comedies. Here they are well-doseed and never become an end in itself: While Jan Henrik Stahlberg (“Muxmäuschüllˣ”) is at the side of the lustful Stefan as Sidekick, the Dresden “crime scene” “Tatort” investor Martin Brambach covers the two wild women as a taxi driver with Union-Käppi in the Nobelhotel. The expensive intermediate accommodation is also the scene of the dirty highlight of all gagsalves: If a grandma in her own grandson is penetrated in “Black sheep”, this time an open hand prosthesis is used for anal intercourse with UV light effects!
Jule Böwe and Frederick Lau steal the show
You have to be able to endure such coarse, but often hilarious ideas – but the turbulent comedy also fencing with a finer humor blade. When the simple-minded dealer cracks the lock of the hotel room with the chip card in the door slot, which all over Germany resident clancing with the technology struggling with the technology or omar with a seller in the unpacked shop, who is now more bipoc, these are wonderfully stupid ideas and exhausting side powers on the zeitgeist where there is no eye. While Marc Hosemann's role is a bit smaller this time and you would have liked the ever more magnificent Milan Peschel as in the first part even more camera times, Jule Böwe, in particular, tower out in the cast with a wonderfully undone. The same applies to Frederick Lau, who steals practically every scene and can even briefly leave his Messi apartment with bee balcony for the grand finale.
Conclusion: The black sheep are back-and almost 20 years later as funny as in 2006, when the Berlin summer gave us similarly high temperatures as in this accurate and frosty-abuser comedy. Get popcorn, sit down, have fun!
We saw “#SchwarzSchafe” at the Munich Film Festival in 2025, where the film celebrated its world premiere in the “New German Cinema” series.