Frank Ripploh

A handsome Belgian sailor on shore leave in the port of Brest, who is also a drug smuggler and murderer, embarks upon a voyage of highly charged and violent homosexual self-discovery that will change him forever from the man he once was.

In a futuristic, totalitarian society wherein the government controls all facets of the media, a homicide detective investigates a string of bombings and uncovers more than he bargained for.

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.

Together with her bisexual friend and manager Stefan, singer Miko is working on a great career that has so far failed to materialize.

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This film is in effect a slideshow of exquisite single photographic images in sparkling black and white, representing Mikesch’s own version of Mary Stuart. “The drama of a woman who attempted a kind of liberal emancipation in a time of upheaval, but got caught in the snares of men,” in her words. Confronted with layers and layers of conflicting information about “how it really was” Mikesch decided not to try to be a historian, but to radicalise the narrative and condense it into striking images of passion, power, love, pain and death.

Frank and his S&M partner are surprised by Frank's harridan mother when she walks in on the pair in an amorous clinch. Frank's mother threatens to disinherit her son if he does not settle down and get married. Frank hires the actress Klara to pose as his wife, and the pair moves into a quaint country house. Soon the newly weirds are both after their handsome neighbour Eugen. Frank becomes confused when he feels he may be falling for his first female.

Max Taurus, a sort of amateur detective, pursues the traces of general omni-present crime back to a partially demolished house. There, the remaining tenants try to gain pleasure and power from progressive abandonment in order to tear down their own conventionalities.

The notorious pirate ruler Madame X places a print ad, calling on women to escape their boring lives and promising "gold, love and adventure" to all who come aboard her ship, the Orlando. A motley crew including a housewife, diva and artist (played by Yvonne Rainer) embark on a quest for self-transformation, which quickly heads towards destruction as they are subjected to Madame X's sadistic, erotic escapades.

In collage sequences, the surrogate of synthetic sensuality takes form and seduces the sailors in the guise of a Hawaiian girl. In ritual punctuation, she distributes deaths which seemingly only the hardy siren Fatality can survive.