Niki de Saint Phalle – Who Is the Monster, You or Me?

Interview film with the protagonists of the New German Cinema in 1966.

After ten years, Hella Mayer and her boyhood friend Andreas meet again in Berlin on the street. Both know each other from common dance lessons times.

Kristl was a member of the prestigious Zagreb Studio of Animation and his early works as painter and filmmaker had brought him instant acclaim and instant censorship. He fled Croatia and lived in Germany; he died there in 2004. Poor People, a “collective scream” of Cold War fear, was produced just after he left his country.

Customs officers Katti and Wolfgang are so deeply in love with each other that they are barely aware of their surroundings. But after the wedding reception, there's nothing but trouble.

The advertising editor Hannes spends the Christmas holiday every year with his family in Münster. He has his new girlfriend, Inge, in a hotel waiting.

This documentary celebrates Max Ernst, one of the most influential and visionary artists of the past century. The film covers the highlights of Ernst's fascinating career via a format that mirrors the restless reality of his life. An inveterate traveler and always on the move, Ernst lived and worked in Germany, France and America. His nomadic way of life kept him searching: "A painter is lost if he finds himself."

"Spring Symphony" is the story of Robert Schumann and Clara Wieck. Both were music entities. Robert Schumann turns out to have been a second tier composer, if that, never rising to the heights of a Beethoven or Mozart. In contrast, Clara Wieck was a master technician in the playing of the piano, a composer (probably not at Schumann's level), and was a child prodigy.

Two old school friends, both in their late twenties. One lives on his parent’s rural estate and does nothing; the other half-heartedly pursues work as a journalist in Düsseldorf.

Potato Fritz and his friends have moved from Germany to the American Wild West, settling eventually in the Rockies. They are besieged by what appear to them to be hostile Native Americans. Before too long, it becomes clear that the hostiles are in fact a gang of gold thieves. This movie is notable among German-made Westerns for its use of authentic period costumes and firearms.

The inner world of the great painter Max Ernst is the subject of this film. One of the principal founders of Surrealism, Max Ernst explores the nature of materials and the emotional significance of shapes to combine with his collages and netherworld canvases. The director and Ernst together use the film creatively as a medium to explain the artist's own development.

West Berlin, summer 1968: the attitude to life at the time through the eyes of (at least) three different quartets: the anarchic bards of "Insterburg & Co." wander through the backyards of Kreuzberg, passing the time with silly poems, homemade instruments and their playmates. The lively Jacob Sisters and their four poodles make guest appearances as international show stars in the luxury hotels. And postcard Berlin is presented by four oil sheikhs who are on a state visit.

The film features several horse trainers and other track workers talking about their roles at the track, always eventually interrupted by an older man who claims to be the true authority, and demands that they be thrown out. One recurring young man, the first to appear, claims that he protects the horses from enthusiastic racing fans. He does not appear to be employed by the track, but seems to provide his services voluntarily. His protection from "fanatics" gives the film its title. The film is shot in a documentary style, but the sheer implausibility of the dialogue leaves the exact nature of the film ambiguous.

During the Prohibition the US government has been just as successful at stopping drinking as they have been in the War on Drugs. Customs Officer Arne Kolk is determined to stop the alcohol smugglers at any price.

Daddy, filmed in cooperation with movie director Peter Whitehead, discovers the connection between a father and little girl. Like the majority of Niki De Saint Phalle’s films, the flick combines autobiography with imagination, mixing erotic scenes of incest with a reverse of energy as the female character humors the daddy figure. Saint Phalle narrates the film, offering an almost psycho-analytical explanation of its content and explains the different inexplicable.