在医院时，“霍夫”霍夫曼，谁有犯罪袭击记录，会见城市，一个工程师谁曾在其他共产主义国家的许多建设项目工作。为了模仿他，霍夫开始从事建筑业。在萨克森州的一个大网站上，他遇到了实习学生吉拉并坠入爱河。在工作人员的支持下，霍夫设法跟随吉拉来到东柏林，结果发现她怀孕了……导演英格丽德·雷什克，东德国家电影制片厂德法的少数女导演之一，利用重新融入一个被判有罪的年轻罪犯的社会来描绘社会问题——年轻的罗维迪，豪西东德首都NG短缺，单身母亲忽视了孩子。这部电影主要是在外景拍摄的，它延续了20世纪50年代和60年代“柏林电影”的传统，描绘了一个宽容的、世界性的社会。东德的社会党成员除了城市工人和忠诚的社会工作者外，还参与了使影片的工作标题中所表达的预言“即使是问题儿童也能成为人民”，成为现实。英格丽德雷什克在电影完成后不久死于一场车祸。 While in hospital, “Hoffi” Hoffmann, who has a record for criminal assault, meets Urban, an engineer who has worked on numerous building projects in other communist countries. To emulate him, Hoffi starts working in construction. On a large site in Saxony, he meets student trainee Gila and falls in love. With the support of his crew, Hoffi manages to follow Gila to East Berlin, where it turns out that she is pregnant … Director Ingrid Reschke, one of the few female directors working at East Germany’s state film studio DEFA, uses the re-integration into society of a convicted young offender to depict societal problems – young rowdies, a housing shortage in the East German capital, child neglect by single mothers. Shot largely on location, the film hews to the tradition of the “Berlin films” of the 1950s and 1960s to depict a tolerant, cosmopolitan society. In addition to Urban and a committed social worker, members of East Germany’s Socialist Unity Party also have a hand in making the prophecy expressed in the film’s working title, “even problem children can become people”, come true. Ingrid Reschke died as the result of a car accident shortly after the film was completed.