Percy McPhee - Agent des Grauens (6. + 7. Folge)

Astronaut Mulligan sets out to find a mysterious planet.

The year was 1972. A commune of Berlin stoners and intellectuals set adrift in space in a packing container clutched in a giant flying hand. Based on Herbst's 1974 animated sci-fi film DIE PHANTASTISCHE WELT DES MATTHEW MADSON.

The film follows Kaspar Hauser, who lived the first seventeen years of his life chained in a tiny cellar with only a toy horse to occupy his time, devoid of all human contact except for a man who wears a black overcoat and top hat who feeds him.

The film depicts, in an anecdotal, quasi-anthropological style, the efforts of a group of men in a desert to achieve some kind of social organisation. An opening title locates the action in Morocco, in 1911, the date evidently refers to the work of D.W. Griffith.

Diwan, a lyric anthology, an outdoor movie with people. With people living in the surrounding precious and very beautifully photographed nature, are neither more nor less than one part of it. What Nekes manages there with landscape, as a cunning and quote many fine artist in a medium that runs in time, as he defeated the time changed, by themselves for change of scenery uses, as it interferes with the laws of chronology through the rewind ability of the camera or destroyed, which is a compelling and highly aesthetic experimental company.

The whole world in one film: Robert, a young Dane, is shanghaied in Marseille, and via Acapulco he is abducted into the South Pacific. There he kills his father and seduces his mother. Then he explores the changing world. The end finds him in a Polynesian village, where the chief bestows him with a girl of his age-class. A novel of adventure, a novel of love, also an oratory of some sort.

A German TV movie

Wyborny’s latest flicker film concentrates on factories, industrial wastelands, waterways, cityscapes, and the bits in between, and has an uncanny emotional resonance. It is “serene, in the manner of ants”—to quote the title of the second section—but it is also elegiac and melancholy. Like two other old cranks (Godard and Straub), the director stays true to ideas about filmic composition gestated over many years and thereby provides a glimpse of a utopian cinema.

Harry, a timpanist and pyromaniac, and Ginamove into the same apartment due to Hamburg's housing shortage. This is the beginning of a wonderful enmity, with Harry, who has been tried and tested in marital warfare, and relationship terrorist Gina proving to be quite equal opponents.

After Roy's demise, five friends try to reconstruct his life by reading through the late editor's notebooks - only to face some very personal demons. The Holy Bunch is a modernist melodrama: beyond-Antonioni in its images, decisively Dreyerian in its spirituality. One of German cinema's few modern (or Modernist) masterpieces.

Heinz Emigholz, the premiere purveyor of architectural oddities (Sullivan’s Bridges, Goff in the Desert), meticulously documents 15 rooms of the enormous Villa Cargnacco in Lombardy, Italy, designed by proto-fascist poet Gabriele D’Annunzio (1863–1938). The controversial figure spent 17 years designing the Vittoriale, a state museum on Lake Garda, and furnishing the Villa Cargnacco, which is part of the grand complex. This unusual documentary resulted from a photography session in the villa, when four friends—cinematographers Irene von Alberti, Elfi Mikesch, Klaus Wyborny and Heinz Emigholz—simultaneously filmed the rooms and furnishings of the villa in their own specific styles.

Agatha is an international lawyer, Jo a filmmaker. The two women are lovers. While Jo is on the road showing her films, Agatha discovers and reads her diaries. Problems ensue as Agatha's transgressions lead to jealousy and a spiraling cycle of sexual obsession.

Adaptation of the novel "Bartleby the Scrinener: A story of Wall Street" (1853) by Hermann Melville.

Home movies shot on Super 8mm by W+B Hein over 10 years.

Before a figure skating championship, a television announcement reminds young girls about the emancipation of women.

"In the early 1970s I filmed compact versions of a series of films that came on television and interested me, which should lead to revealing at least essential parts of their structure. In 1974, 30 of those experiments were mounted in sequence - so more or less chronologically - forming a film entitled Elementary Filmhistory. This film was intended to make a broad reading of the direction in which the cinema grew from 1960." (Klaus Wyborny)