This film is very, very Berlin, bursting with the vitality of its underground and shot in the languorous greys of the city's surface with its sidewalks, its cafes and its blues. The barely translatable title Tagediebe evokes a mood--rather like that in Stranger Than Paradise--of people who kill time for a living and are very good at what they do. Max, Lola and Laurids are three roommates hanging out in a flat that belongs to none of them. Their relationship is a triangle gone haywire: Max loves Lola, Lola loves her freedom and Laurids loves Bach and, occasionally, other boys. They are homeless homebodies, old enough to wish for a place of their own but young enough to think that home (...job...lover) will come knocking at the door; of course if they did, no one would want to answer. Two dozen episodes woven around the ellipsis that is their daily life are pushed along by a bright script, improvised lines and cleverly devised situations (as when Lola of the outlandish hair becomes the child to her conservative 10-year-old son). The sum is a pretty accurate account of what it is to be young, gifted and unmotivated in Berlin of the eighties. The first film by Swiss-born director Marcel Gisler was a delightful revelation (and prize-winner) at the recent Locarno Film Festival, and is also selected for MoMA's New Directors/New Films '86.