In Felix Lenz's thorough discussion of Agnès Varda's film Cléo de 5 à 7 (1962), Cléo wandering as a terminal cancer patient serves as metaphor for both the classic fear of death and for the modern struggle with patriarchal structures. While the Flaneuse maintains solid ground within a varied landscape of literature and film, her appearance in Die Lust zu gehen remains predominantly white, heteronormative, middle class, and often, still marginalized, despite the appearance of refugees, migrants, and people of color who reflect Europe's shifting sociological and economic landscape. The interesting proximity between the authors' home institutions suggests potential to create a homegrown/local Flaneuse discourse, looking perhaps to recent events such as the 2015 refugee crisis or to Germany's (delayed) response to the viral #metoo movement of 2017, or to more varied German-language Austrian, Swiss, or nonnative directors' and authors' reflections on the gendered perspectives of urban walking for the twenty-first century from a West German angle, and thereby capturing more successfully the interests of an increasingly diverse German-speaking academic audience.