Michael Stock

A first person narrative of the exploits of a gay serial killer in deeply disturbing, controversial drama about violence, sexuality, and the imagination. Dennis, the main character, whose lead we follow on this path between what is real and what we can only hope is surreal. His friends attempt to determine if he's truly a psychopath.

The story is set soon after the reunification of West and East Germany, and is about the disintegrating relationship between Jockel, a political activist and Stefan, a heroin junkie, and their involvement with bisexual Micha. Micha's young son Sascha is fascinated with the creepy, exhibitionist puppeteer Firlefanz, whose grotesque puppets enact a gay fairy tale paralleling the relationship of Stefan and Jockel. Central to the disintegration of these characters is the drug dealer Ingolf, who 'pulls their strings' with heroin, instead of puppet wires.

As a child, Michael Stock was sexually abused - by his own father. 25 years later he is still looking for inner peace. In conversations with his family and friends and his own reflections, he paints an ever clearer, if contradictory picture of what happened and of the consequences for each of the family members. Old family films seem to show a happy family - excerpts from Michael's first feature film hint at his extreme adult life, overshadowed by his lifelong trauma. Yet in spite of the intense drama, the film doesn't have an atmosphere of anger and hatred but rather a surprising air of hope and love of life. Michael's aim is not to accuse the "perpetrator" but to understand. In the end, he takes his video "Postcard" to his father. With the camera running, he confronts him with his past.

Documentary montage on the theme of skinheads in Germany and the sexual fascination for them held by many homosexuals, which has a historical dimension in the same tradition as sailors, builders and men in leather being idolized objects.

Lesbian filmmakers from Berlin were asked to make a short film about their idea of male gay love and sexuality and, vice versa, gay men were given the task of making a short film about lesbian sexuality and eroticism.

Lesbian filmmakers from Berlin were asked to make a short film about their idea of male gay love and sexuality and, vice versa, gay men were given the task of making a short film about lesbian sexuality and eroticism.

The story is set soon after the reunification of West and East Germany, and is about the disintegrating relationship between Jockel, a political activist and Stefan, a heroin junkie, and their involvement with bisexual Micha. Micha's young son Sascha is fascinated with the creepy, exhibitionist puppeteer Firlefanz, whose grotesque puppets enact a gay fairy tale paralleling the relationship of Stefan and Jockel. Central to the disintegration of these characters is the drug dealer Ingolf, who 'pulls their strings' with heroin, instead of puppet wires.

The story is set soon after the reunification of West and East Germany, and is about the disintegrating relationship between Jockel, a political activist and Stefan, a heroin junkie, and their involvement with bisexual Micha. Micha's young son Sascha is fascinated with the creepy, exhibitionist puppeteer Firlefanz, whose grotesque puppets enact a gay fairy tale paralleling the relationship of Stefan and Jockel. Central to the disintegration of these characters is the drug dealer Ingolf, who 'pulls their strings' with heroin, instead of puppet wires.

A lonely lesbian attends multiple bars before going home with a woman.

A lonely lesbian attends multiple bars before going home with a woman.

As a child, Michael Stock was sexually abused - by his own father. 25 years later he is still looking for inner peace. In conversations with his family and friends and his own reflections, he paints an ever clearer, if contradictory picture of what happened and of the consequences for each of the family members. Old family films seem to show a happy family - excerpts from Michael's first feature film hint at his extreme adult life, overshadowed by his lifelong trauma. Yet in spite of the intense drama, the film doesn't have an atmosphere of anger and hatred but rather a surprising air of hope and love of life. Michael's aim is not to accuse the "perpetrator" but to understand. In the end, he takes his video "Postcard" to his father. With the camera running, he confronts him with his past.

The filmmakers follow two women for years, each grappling with the topic of dying for different reasons. In doing so, she confronts her own grief. The relative certainty of imminent death and the hope for self-determination, as well as the emotional ambivalence of those affected and those who will be left behind, are the central themes of this film.