Ula Stöckl

Five more-or-less distinct sections, all featuring "Freak" Orlando, a woman played by the late Magdalena Montezuma, who appears in various guises and deformities throughout.

In the summer of 1967, journalist Katharina is visited in Munich by her French friend Anne. They take day trips and visit cafés, acquaintances, and parties. In a series of conversations between them and other women, they talk about the chances for female emancipation in a male-dominated society.

The Dumpster Kid is an artistic creation: in every story society forces her to learn something. But she, fully grown from the moment of her birth, unquestionably learns more than is called for. This extra knowledge, which is not wanted by society, regularly brings her into danger. Dumpster Kid dies in each story, and across each genre. Her stories are set in a whole range of different time periods. What is a Dumpster Kid?

A woman experiences psychic disintegration and ends up in a psychiatric hospital.

In this mystery/thriller based on a novel by Patricia Highsmith, Nico Thomkins (Udo Schenk), a writer, and his wife Helen (Anke Sevenich) are in the habit of playing games with one another. Even while they are breaking up, they are sufficiently in tune with one another to continue this practice. When the writer's wife takes off without leaving a note behind, people begin to suspect that he may have murdered her, and he plays along with this notion to the point of planting clues which would incriminate him. Obviously, no one with a shred of common sense would do such a thing, and these tricks get him into trouble. However, his troubles don't really begin until he starts to search for her in earnest.

Manfred takes his nephew, Martin, on a business trip to Rome. They stay with Manfred's brother Georg, who lives in Rome. On the way there Manfred and Martin meet Lilo, a girl who is also on her way to Rome.

‘The films I make have to get made, because when these people are dead they’re dead and all we’ll have left are Gestapo records, the records of the perpetrators. We can’t accept that.’ This quote graces the beginning of Katrin Seybold’s last film which was finished by her long-standing friend and colleague Ula Stöckl following Seybold’s death on 27 June, 2012.

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.

No description available.

For over half a century, the filmmaker Edgar Reitz, one of the signatories of the Oberhausen Manifesto and a pioneer of epic film narration, has explored, as a practitioner and theoretician, the rules and limits of cinema, which he always seeks to break and extend in new ways. One example of his tireless search and research are the Geschichten vom Kübelkind, which he co-directed with Ula Stöckl in 1969/70, 22 absurdly funny, subversive and anarchistic short films of different lengths, which consciously oppose all conventions, with incredible success. The films remain unrivalled in their Dadaistic inventiveness.

Elizabeth is a young woman who seeks happiness excessively burning out all those around her.

Eleven-year old Jason and his companions, including Hercules and Orpheus, go with the ship "Argo" in the search for the Golden Fleece. With wit and cunning to overcome various obstacles until they reach the destination of their fantastic journey. The experiment is not only due to the popularization or naive glorification of a myth, but the search space occupied by fact that the heroes of antiquity were actually very young.

A short film by Ula Stöckl, with Grischa Huber and texts from "Hyperion" by Hölderlin: "I would like to show you a free land, a land full of beauty and full of soul and say: save yourself there!"

The observations of teachers and students at the Stuttgart evening school poses the question of whether everyone has the same education opportunities. Out of the 200 night-school students who start out, only 17 reach their aim: Graduation from school, which is the entry ticket to university and possibly the key to happiness later.

Erika and Franziska haven't seen each other for 4 years. 10 years earlier they both felt that they had the same chances in life: both were young, attractive and imaginative. They overlooked what would, right from the outset, separate them: their very different emotional make-up, their different character. In a long nighttime discussion the friends try to clear up these differences - not without some glimmer of hope.

Since she was twelve, Helga has had to take responsibility for others. She never learns that she also has a responsibility to herself.

The weaker sex must become stronger - but how can this be achieved? The central keyword of the six filmmakers Claudia von Alemann, Susanne Beyeler, Erika Runge, Helke Sander, Ula Stöckl and Hanna Laura Klar is: emancipation. Together, they will discuss the importance of films for feminist consciousness-raising and the role of female filmmakers in this process. A statement will be followed by an exemplary feature film scene. Claudia von Alemann talks about the unequal division of housework and advocates the remuneration of this work. How can the relationship between work and family be improved for working women? What about bringing up children? What steps are necessary to overcome the unequal gender order? One thing is clear: Film work is political practice.

Dea, gynecologist and scientist, and her colleagues have for the last few months been preparing a campaign against the local pharmaceutical industry. A campaign, which is linked to Dea's published findings concerning harmful side effects of the pill. For years Dea and her husband Rheinhard have been defending opposing sides as to the culpability of the company. Rheinhard, who is also a leading scientist like Dea, is a high-ranking employee of the concern. In the meantime Reinhard and Dea's 2 daughters have grown up. The daughter of the company's boss, Johanna, is Dea's assistant and Reinhard's lover.

The 24-year-old Ekkehard is shocked by the suicide of Hans Georg, a young man under his care, and moves into his room because he initially believes that the causes of the suicide can be found in this environment. In his search for the reasons, his perception of his own reality changes.

Angela and Robert have been married for ten years and make a perfect couple. They are madly in love with each other, give each other plenty of space and support each other in everyday life. This idyll is put to the test when Robert's girlfriend Claudia moves in with the couple and Angela falls in love with another man. According to a mutual agreement between Angela and Robert, anything goes if one of them breaks their promise never to leave the other.