In Bernhard Sinkel's 1975 feature film Lina Braake oder Die Interessen der Bank können nicht die Interessen sein, die Lina Braake hat (Lina Braake or The Interests of the Bank Cannot Be the Interests of Lina Braake), an elderly lady has her right of residence revoked by a bank and is forced to move into a retirement home. With the help of a fellow resident and a trick, she manages to obtain DM 20,000 from the bank. Lina Braake invests the money in a farmhouse belonging to a Sicilian family, who grant her lifelong right of residence. In a sense, she has ‘made’ her money herself, as new money was created by the bank for the loan granted.
The Lina Braake Bank project on Karl-Marx-Allee deals with this film. Lectures and discussions will explore the economization of living space and the social impact of private money creation. Two letterings on the buildings at Karl-Marx-Allee 5–11 are part of the installation and connect the container with the high-rise buildings in the second construction phase. In the past, the roofs were used to advertise the Maxim Gorki Theater and the Russian company Mashpriborintorg, among others. Displacement due to the interests of the financial sector is not only a current problem on Karl-Marx-Allee. For more and more people, apartments and rents are becoming increasingly difficult to afford. Since money often comes into circulation as loans for high-yield and risk-free investment opportunities, rents and real estate prices, among other things, are rising. 

The connection between credit and money was described in detail by anthropologist David Graeber, who died in 2020, in his book Debt: The First 5,000 Years. One of his theses is that money consists of socially circulating promises that could be organized very differently than is the case today. This proposal was taken up by the Lina Braake Bank, and its motto is: “We make our own money now!” To fulfill this promise, the so-called Braakteaten are screen-printed on specific days. Outside opening hours, a video work can be viewed 24/7, promoting the bank's interests as an “image film.” In the film collage, scenes from Lina Braake's feature film engage in dialogue with statements made by David Graeber in a 2013 interview with journalist Stefan Fuchs.