"Endstation Sehnsucht" translates to "A Streetcar Named Desire" in English.

Blanche DuBois, a sensitive, not-so-young Southern beauty from a good family, must leave her hometown of Laurel. One family member after another has died. Belle Rêve, the estate of her once-wealthy family, has been foreclosed. She has also lost her job as a teacher. Now, Blanche seeks refuge with her younger sister Stella in New Orleans. Upon her arrival, Blanche is horrified. Her sister lives with her husband Stanley Kowalski in a small two-room apartment in a rundown tenement. Blanche makes no effort to suppress her disdain and expresses derogatory opinions about Stella's living conditions. Nevertheless, the younger sister is willing to take her sibling in during her time of need. Blanche is utterly shocked when she meets Stanley, a muscular man exuding raw masculinity with coarse manners and a pronounced penchant for alcohol. Blanche makes it abundantly clear that she considers him beneath her. However, her sister seems almost subservient to him. A strong aversion develops between the rather pretentious Blanche and the animalistic, proletarian macho Stanley. She compares him and his poker friends, with whom he plays cards and drinks through the night, to a "monkey gang." When Blanche witnesses Stanley's willingness to resort to violence against his wife, she tries to convince Stella to leave him. Stanley secretly eavesdrops on the conversation. From that point on, he seeks compromising facts about Blanche's past, and he will find them. For the image of the morally upright, cultured lady that Blanche paints of herself has little to do with reality. Blanche's ethereal nature turns out to be a mask for a wounded woman who cannot bear reality and is breaking under it. "A Streetcar Named Desire" by Tennessee Williams premiered in New York in 1947 and was later adapted into a film. Tennessee Williams received the Pulitzer Prize for this masterpiece. In a psychologically nuanced and compellingly constructed experimental setup, he addresses complex and timeless themes such as the battle of the sexes or the nostalgia of the self-satisfied educated elite, which has nothing to counter the vehement assertion of the supposedly inferior working class. According to his own statement, Tennessee Williams refrained from taking sides in the conflicts of his characters.