Christoph Schlingensief

Jurgen is an unknown electrician with a dream of pop stardom. His mother browbeats him into fame, while two managers compete for his contract. All Johnny really wants to do is get some sleep.

In Africa - Land of the ever shining sun, German soldiers fulfill a UN mission. For homosexual General Brenner its a dream comes true: Here, where the people are still native and simple, the German can prove his abilities. But then the virgin wife of Brenner gives birth to her first child. Is it the new Messiah? But what is a Messiah good for, if the UN is already there?

Egomania is a visually stunning end-of-the-world melodrama about lust, jealousy and murder set amidst solar eclipses, orchestral chants and the distant thunder of the boiling sea. The film’s characters – riddled with unconscious desires – find themselves imprisoned on an island. Drawing parallels to the work of British filmmaker Derek Jarman and staring Jarman’s actress-muse Tilda Swinton, Schlingensief’s raw and almost mythological film stands in contrast to his more offensive efforts.

An eccentric homage to the Rainer Werner Fassbinder days of German filmmaking.

The funny clown Bratislav Metulskie is found dead in circus "Apollo". The retired commissioner 00 Schneider is asked to assume control of the case. Schneider and his aged sidekick Körschgen investigate to find the murderer.

On 30 April 1945, dictator Adolf Hitler, his wife Eva Braun, and prominent members of the Third Reich live out their final hour in the Führerbunker.

Volksbühne am Rosa-Luxemburg-Platz 1992-2017. The end of the GDR gave rise to new artistic freedoms in reunited Berlin. Shortly after the fall of the Wall, rebel director Frank Castorf was appointed artistic director of the Volksbühne. His way of working altered the public’s perception of this theater. The chronological history of the Castorf era between 1992 and 2017 is told here in excerpts from the productions and in a series of conversations conducted on the long sofa in the theater's foyer.

A great mosaic, a labyrinth of scenes, dialogue splinters, interviews, portraits of people surrounding Hamlet and wanting to be part of his story.

Germany, right after the re-unification. The people are out of control, blind hatred towards immigrants is common sense. In this time, a social-worker, with the mission to bring a Polish family to their destination (an immigration camp in a little provincial town called Rassau), gets kidnapped just as the family. Chief inspector Koern and his girl-friend start to investigate in this matter in Rassau, exploring a world of obsessive sex, mislead lust and an over-whelming irrational love to the German nation, infiltrating anyone's mind. Rascism doesn't start with shaved hair and boots but rather in the middle of society itself...

Axel is 14 years old, male prostitute, living in Düsseldorf. His mother drinks and her friends abuses him. He is sent to a bar to pick up customers. There he meets Karl-Heinz, and a loving relationship begins.

Sometime during the 19th century in Switzerland: After a delirious night of drinking, three herdsmen who are all alone in the alps with their kettle, create a female doll from cloth and a strangely formed wooden root. When their creation comes to life in form of an evil and beautiful female demon, they have to fear for their lives...

In Mea Culpa, Christoph Schlingensief blurs a delicate line: he ignores the threshold that separates the healthy from the sick. By making his cancer the subject of an opera, premiering on the largest German-speaking theater, he is putting the art district under pressure: a wonderful institution like the Burgtheater must use its artistic resources lavishly to reveal the entire "truth" about us humans. At the end of the day, when the scenery on Janina Audick's revolving stage has finally come to rest, when Isolde's last Liebestad has been sung enchantingly beautifully by Elfriede Rezabek and indescribable jubilation breaks out, then Schlingensief is completely alone with his illness.

Taking place around the German reunification of 1990, a group of East Germans cross the border to visit West Germany and get slaughtered by a psychopathic cannibal family who want to turn them into sausages.

A young Berlin couple travel to a friend's place for the celebration of Silvester and New Year's Eve. During that period, we witness today's juvenile sub-culture, especially the ways of keeping a partnership - or breaking it up in between.

Returnee Willy von Mühlenbeck has to realize that his evil brother Martin has risen to become the head of the industrialist family, while their ailing mother is in the hands of sinister doctors. When he falls in love with the terminally ill Els, fate takes a tragic course.

A mockumentary - after suffering a tragic accident on a shoot in Tuscany, Udo Kier is about to die. Alfred Edel is sent in to film an obituary.

A traumatized young man, abused by his father, imagines himself as Adolf Hitler when dreaming of revenge. Schlingensief released this film, which follows no linear narrative structure, at a moment when right-leaning German intellectuals argued for a coming to terms of the country’s relation with its Nazi past. Schlingensief disagreed. (MoMA)

A man who accused a catholic bishop of abusing him when he was a child dies in the Austrian city Salzburg. Everyone except his widow and the eccentrical detective Simon Brenner keeps silent and believes that the man killed himself.

An exhilarating and amusing encyclopedic look at the "prehistory" of cinema. Werner Nekes charts the fascination with moving pictures which led to the birth of film, covering shadow plays, peep shows, flip books, flicks, magic lanterns, lithopanes, panoramic, scrolls, colorful forms of early animation, and numerous other historical artiffices. Working with these formats, early "producers" created melodramas, comedies, -- as well as lots of pornography -- anticipating most of the forms known today. Nekes probes these colorful toys and inventions in a rich and rewarding optical experience. Film Before Film is a bewildering assault of exotic (and sometimes erotic) images and illusions.

A provocative and ironic pamphleteering documentary about the making of Christoph Schlingensief’s Nazi-'Hamlet’ (2001). Both a media event and a form of political action Schlingensief let ex-neo-Nazis play themselves. His provocation in so-called Nazi-free Switzerland was not appreciated and when he added fuel to the flames by calling for the local political party SVP to be banned, his media offensive made front-page news far beyond Switzerland.

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.

In his first 16mm film, Christoph Schlingensief plays the German national anthem on the trumpet! An expression of a deep life crisis after being rejected by the Munich Film Academy.

The movie version of Christoph Schlingensief's stageplay.

This black and white silent film with music by Helge Schneider, starring Udo Kier as a vampire and Alfred Edel as an Indian chief was commissioned by the Filmmuseum Düsseldorf to inaugurate their cinema organ. The look and feel of the film stems from the silent film era, but the camp style and over use of clichéd characters bears the trade mark of Schlingensief all over. “I love all things kitsch, like opera, and I feel inspired by music. I was interested in silent film but not a great deal”, said the director.

In the eight-part program U3000 (2000), broadcasted by the music station MTV, Schlingensief assumes the role of the presenter who hates himself for his self-love disguised as telegenic selflessness. Common broadcasting formats are all being ridiculed without exception. A socially needy family can qualify for participation by winning the always same outside bet, in order to make their private fate public in front of a running camera and in the presence of passengers in the moving subway. Childlike rounds of games give them the opportunity to improve social welfare, critically watched by a jury made up of the handicapped actors from Schlingensief's ensemble. Aged show stars like Maria and Margot Hellwig, Christian Anders or Roberto Blanco are used in a talk-show wagon as cheap fodder and are forced to show compassion with such victims of the market economy. The bands of the MTV generation (Atari Teenage Riot, Surrogat, Söhne Mannheims and others) play in the dance wagon.