Magdalena Montezuma

Welt am Draht

Rainer Werner Fassbinder

Klaus Löwitsch, Barbara Valentin

Институт кибернетики создал революционный суперкомпьютер — Симулакрон, с помощью которого можно моделировать целые миры и населять их искусственными людьми. Изначально Симулакрон должен был использоваться в благих общественных целях, но глава Института Сискинс начинает осуществлять свои корыстные планы. Помешать Сискинсу, а также разгадать ряд тайн и загадок вокруг суперкомпьютера должен гений компьютерных технологии Фред Штиллер…

Die Geisel

Peter Zadek

Heinrich Giskes, Herbert Grönemeyer

Johannas Traum

Werner Schroeter

Magdalena Montezuma, Candy Darling

With the ascetic grandeur of Carl Th. Dreyer’s The Passion of Joan of Arc, Schroeter evokes the visions of Saint Joan, partly through unused footage of Darling and Caven pantomiming in his 1972 film The Death of Maria Malibran. - MoMA

Tally Brown, New York

Rosa von Praunheim

Tally Brown, Paul Ambrose

Tally Brown, New York is a 1979 documentary film directed, written and produced by Rosa von Praunheim. The film is about the singing and acting career of Tally Brown, a classically trained opera and blues singer who was a star of underground films in New York City and a denizen of its underworld in the late 1960s. In this documentary, Praunheim relies on extensive interviews with Brown, as she recounts her collaboration with Andy Warhol, Taylor Mead and others, as well as her friendships with Holly Woodlawn, and Divine. Brown opens the film with a cover of David Bowie’s “Heroes” and concludes with “Rock ’n’ Roll Suicide.” The film captures not only Tally Brown’s career but also a particular New York milieu in the 1970s.

Salome

Werner Schroeter

Mascha Rabben, Magdalena Montezuma

Schroeter's virtuosic staging of the Oscar Wilde tragedy is a complex montage of image and sound, filmed on the grand steps of Baalbeck, the ancient Roman temple in Lebanon, and interweaving Lebanese and German folk songs with the music of Verdi, Wagner, Strauss, Mozart, Bellini, and Donizetti. Elfi Mikesch, the cinematographer of Schroeter’s later films, designed the film’s sumptuous costumes. A contemporary critic for Le Monde wrote admiringly of Schroeter’s depiction of "the deadly struggle between dark Christian morality and luminous paganism.“

Goldflocken

Werner Schroeter

Magdalena Montezuma, Ila von Hasperg

Werner Schroeter's rhapsody of excess leaps from 1949 Cuba to contemporary France to points in between, while its feverishly shifting visual style evokes and parodies everything from kitschy Mexican telenovelas to silent French art films.

Palermo oder Wolfsburg

Werner Schroeter

Nicola Zarbo, Otto Sander

An impoverished young man from Sicily travels to Wolfsburg, West Germany to find work. He takes a job in the Volkswagen factory after he travels through Northern Italy by train.

Bildnis einer Trinkerin

Ulrike Ottinger

Tabea Blumenschein, Lutze

A sartorially resplendent woman of few words arrives in Berlin with plans to live out the rest of her days as a drunkard.

Taxi zum Klo

Frank Ripploh

Frank Ripploh, Bernd Broaderup

Frank, a gay school teacher, has a very active sex life and an interest in making films. One evening, he meets Bernd and they become lovers. But while Bernd is attentive and caring, Frank gets bored and continues his polymorphously perverse ways.

Beware of a Holy Whore

Rainer Werner Fassbinder

Lou Castel, Eddie Constantine

Tensions between members of a film crew build while they wait for the arrival of the director and star to arrive on location.

Argila

Werner Schroeter

Carla Egerer, Magdalena Montezuma

Werner Schroeter's stunning split-screen short deals with what the director called "archaic, fundamental themes" of love and mourning.

Eika Katappa

Werner Schroeter

Magdalena Montezuma, Carla Egerer

Collage of dramatic scenes, some exaggerated to comic effect, with asynchronous sound from well known classic, operatic, and rock and roll music – with different approaches to love, suffering, and death.

Neurasia

Werner Schroeter

Steven Adamczewski, Rita Bauer

In a dark and spare theatrical space, four characters use gesture, language, and movement to explore themes of desire and mortality.

Liebeskonzil

Werner Schroeter

Magdalena Montezuma, Kurt Raab

Oskar Panizza’s The Council of Love (1895) is a blasphemous play set in 1495, during the first recorded outbreak of syphilis, which Panizza satirically presents as the punishment from Satan for sexually active humans. As a result, Panizza was imprisoned for obscenity. Schroeter alternates scenes from the Panizza’s work with a dramatization of his trial, presenting the play as an expressionist spectacle performed by actors wearing exaggerated makeup who gesture and grimace grotesquely. The film thus forms a bridge between Schroeter’s use of tableaux in his early experiments with the political urgency of his 1980s films. On the eve of the AIDS crisis, Schroeter is presciently worried about disease as an excuse for governmental repression and the oppression of sexuality. - Harvard Film Archive

Dorian Gray im Spiegel der Boulevardpresse

Ulrike Ottinger

Veruschka von Lehndorff, Delphine Seyrig

Our organization will create a human being whom we can shape and manipulate according to our needs. Dorian Gray: young, rich and handsome. We will make him, seduce him and break him. Ulrike Ottinger, 1984

Der Tod der Maria Malibran

Werner Schroeter

Magdalena Montezuma, Christine Kaufmann

Werner Schroeter mixes Stravinsky, Beethoven, Brahms, Maria Callas and Janis Joplin in this delirious biography of the doomed nineteenth-century mezzo-soprano.