Irene Fischer

Old captain Barkhahn keeps on going bankrupt with all his business endeavors. He’s made for the sea and not for the land. His newest idea is a family-run bed and breakfast with “Familienanschluß," and so Captain Bräuer moves in and quickly shows interest in Barkhahn's daughter Käthe, whom he met and bugged earlier already. Meanwhile, the bailiff is on Barkhahn's back, and the next catastrophe is on the rise.

An early declaration of war on narrative cinema, using a barrage of visual and acoustic elements while at the same time juggling ironically - as he still does - with the term 'avant-garde'. A number of other preferences and obsessions were evident at an early stage, e.g. the mind-numbing habit of having his people stumbling and screaming around: life as a race track. His films likewise feature a lot of theatrical and cryptic outpourings. No wonder that they failed at the box office. No wonder either, however, that Schlingensief was attracted to theatre.

A group of young people become involved with the kidnap of a local politician with the aim of halting construction work on a nearby nuclear power plant.