Between 2007 and 2009, the artists Isa Genzken and Kai Althoff sporadically met when able and filmed the series of no-budget vignettes that became Die kleine Bushaltestelle (Gerüstbau), or "The Little Bus Stop (Scaffolding)." Between overlapping liaisons in Cologne, Berlin, and New York, Genzken and Althoff filmed in hotels, flats, and bars, performing a pas de deux at the crossroads of slapstick and philosophical dialogue. 

As detectives, as babies, as sex workers, as bourgeois, as proletariat, and always irreducibly themselves, Genzken and Althoff's conversations meander between sympathy and antagonism as they blindly try to eke out a kernel of satisfaction from the lives they imitate. The numerous guises they adopt, no matter how campy, never stray far from their identities as artists navigating a world where art itself feels nearly impossible and intimacy seems hopelessly entangled with transaction. Die kleine Bushaltestelle delivers laughs to its audience with the crass intellect of John Waters or Rosa von Praunheim, while retaining the aleatory innocence of Buster Keaton, and sees Genzken and Althoff inserting themselves into the tradition of the comic duo, from Laurel and Hardy, Abbot and Costello to Nicholas and May.