Theodor Hierneis oder Wie man ehem. Hofkoch wird

This documentation of a Kortner stage rehearsal shows in detail and fascinatingly how Kortner developed psychological tensions with meticulous precision in linguistic expression and gestural construction.

A structure-free, four-part examination of the rise and fall of the Third Reich. Each part explores a different topic, from Hitler's cult of personality in propaganda to how said propaganda was associated with pre-Nazi German cultural, spiritual, and national heritage to the Holocaust and the ideology behind it, particularly from Himmler's point of view.

An installation film that consists of a six-hour-long monologue performed by Edith Clever, who reads texts by Syberberg and many different authors, such as Johann Wolfgang von Goethe, Heinrich von Kleist, Plato, Friedrich Hölderlin, Novalis, Friedrich Nietzsche, Eduard Mörike, Richard Wagner, William Shakespeare, Samuel Beckett, and Chief Seattle.

TV adaptation of Arthur Schnitzler’s eponymous book with Edith Clever as the only film actress.

A requiem for the now-defunct German state of Prussia.

In her Berlin apartment, where the S-Bahn and long-distance trains pass by, the actress Edith Clever reads Molly Bloom’s monologue from James Joyce’s “Ulysses”.

A structure-free, four-part examination of the rise and fall of the Third Reich. Each part explores a different topic, from Hitler's cult of personality in propaganda to how said propaganda was associated with pre-Nazi German cultural, spiritual, and national heritage to the Holocaust and the ideology behind it, particularly from Himmler's point of view.

Fritz Kortner performs a monologue.

The noble family of the Poccis owns the Ammerland castle on Lake Starnberg. The current lord of the castle leads a secluded, small life as a farmer, Unimog driver, horse lover, drummer and soccer player.

Documentary about young actress Romy Schneider, capturing just the right moment between her first career as a young actress in mainstream "Unterhaltungskino" ("entertainment cinema") and her second one as acknowledged European arthouse actress.

A psychological interpretation of the opera mixing in references to the history of Germany, Wagner’s life, German literature and philosophy. The action is centered on Wagner’s death mask. Kundry is the main character – one might read the film as the story of her redemption rather than that of Amfortas.

A Teutonic lecher on vacation has a wager with some local peasants that he can't make a walking circle from sunrise to sunset to secure some coveted land. The middle-aged businessman embarks on his journey only to be slowed down by the beautiful reporter Scarabea. With thoughts of drunkenness and sex on his warped mind, the man tries to circumnavigate the parcel of property. The story is a retelling of an ancient folk tale told by Tolstoy where the initial victim bets his soul to Satan against the land he desires.

This ethereal, three-hour biopic starring Helmut Käutner as the writer Karl May interprets «a German hero's life» and thereby paints a picture of an entire era.

This surrealistic experimental film finds the son of a young nobleman staying with hash-smoking hippies in a seamy section of Munich. He falls for a hippie girl who is involved in shaking down the young man's parents for money. She falls in love with the young man but the group continues to extract money from the parents in return for their wayward son. When he discovers the shakedown, his rage leads to tragedy for the star-crossed lovers.

Winifred, the geriatric daughter-in-law of the famed composer Richard Wagner, talks about her cultural and political influence during the Third Reich. Yet in contradiction to the films's title, Winifred confesses nothing. The contradictions within her discourse do, however, reveal the extent of her delusions and political commitment as an unrepentant fascist. She paradoxically describes herself as a completely apolitical being, adamant that her classification as a grade three Nazi at the end of the war was a grave injustice. Still Winifred cannot contain her amusement when she recalls that after the collapse of the Third Reich, she was the only person left in Germany who would admit that she was a Nazi.

Reflected in an artificial and bombastically staged illusory world with Wagnerian compositions, glossy and satirical time references, 19th century German figures and traditions are stripped of their mythology and interpreted by the Germany of 1972.