Ila von Hasperg

Ariane and Gerhard Christ, a wealthy Munich couple, plan for the weekend on separate trips, lying to the other about their trysts. However, their itineraries are complicated when they both arrive at the family's country home with their respective lovers.

A repressed young woman becomes obsessed with pornography and the mysterious rich patrons of the Times Square porn theater where she works selling tickets.

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.“

Nick, a gay, HIV-positive architect, begins to display severe symptoms of AIDS and makes preparations to kill himself before he is unable to function normally. He arranges a party to reconnect and say goodbye to his closest friends and his confused parents. But when his ex-partner, Brandon, a television director who left Nick when he was diagnosed with HIV, shows up, what was supposed to be a celebratory event becomes much more difficult for everyone.

The lackluster and plodding Bolweiser has the (mis)fortune to be married to the town’s siren; his trusting nature leads him into serious trouble when she beds nearly every available guy.

As a boy, Dominik watched an American crime boss murder his father, a police officer fighting corruption in Sofia, Bulgaria. Years later, he attempts to avenge his father's death but is imprisoned for 15 years for attempted murder. In prison, he meets an American photo-journalist who shares his enemy and his thoughts of revenge. Released from prison, the two hatch a plot which involves the man's recently-arrived daughter.

A young man raises the dead in a high valley where the power is held by Violanta.

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.

The documentary tells the story of the Berlin luxury hotel, which was built by the director's great-grandfather and fell victim to a fire shortly after the end of the Second World War.

A small carnival is in dire financial straits. Their show is attracting fewer and fewer paying customers, as their "attractions" are ageing, out of shape and beset by internal feuds and bickering. One day a beautiful young woman shows up and suggests a way of attracting customers: put on a strip show, with her as the main attraction. Her act attracts customers in droves, but it turns out that the girl has her own agenda, and it isn't to help out the carnival.

Nightclub singer La Paloma succumbs to the persistent courting of a chubby, rich admirer and marries him. Before the marriage, she was thought to be dying, but soon she is well. She believes her husband's love has cured her, but her efforts to love him begin to fade as she discovers true love with her husband's old school friend.

In 1970s Atlanta, a diminutive gay man tries to find succor from the small-town religion that filled him with self-loathing. He meets Miss Make-Do, who teaches him the fun of reckless behavior and emotional management via getting higher than a kite. The film features a host of cameos from John Ritter, Marilu Henner, Kathy Kinney and others.

At night, baby-face Laura dresses up as a vamp and lets random guys at bars pick her up, just to drug and rob them later. But then someone starts stalking her, and a person close to her is killed.

When Hitler watches Marlene Dietrich in a movie, he falls in love with her. He persuades her to come back to Germany to be with him, but upon her arrival, she constantly insults and provokes him until he eventually, on her command, bites the carpet to bits.

Living together in an isolated house, three women go to murderous lengths to keep strangers out of their private retreat.

Satire on 19th-century class relations and thinly veiled commentary on the failure of the 1968 political revolution.

A series of tableaux illustrating the life and death of a celebrated 19th century German opera singer.

When Peter Huber the proprietor of a Bavarian corner newsstand, wins a free trip to New York City in a magazine contest, he is overjoyed. Filled with romantic ideas from the movies, his actual encounter with the gritty realities of the Big Apple are sobering. Nonetheless, he is in for the adventure of his life. First, he meets Karola Faber, the German wife of a U.S. G.I. who has found life in the States not all it's cracked up to be: she has left her husband and makes her living through prostitution. Peter and Karola visit the local German emigré community's Oktoberfest, and win the festival's King and Queen crown. Their prize is a cow, which accompanies them on their further journeys in New York City.

Agatha is an international lawyer, Jo a filmmaker. The two women are lovers. While Jo is on the road showing her films, Agatha discovers and reads her diaries. Problems ensue as Agatha's transgressions lead to jealousy and a spiraling cycle of sexual obsession.

Beautiful, detached, laconic, consumptive Lily Brest is a streetwalker with few clients. She loves her idle boyfriend, Raoul, who gambles away what little she earns. The town's power broker, called the rich Jew, discovers she is a good listener, so she's soon busy. Raoul imagines grotesque sex scenes between Lily and the Jew; he leaves her for a man. Her parents, a bitter Fascist who is a cabaret singer in drag and her wheelchair-bound mother, offer no refuge. Even though all have a philosophical bent, the other whores reject Lily because she tolerates everyone, including men. She tires of her lonely life and looks for a way out. Even that act serves the local corrupt powers.