Anna Köhler

Lena Katz, who is German, and David Fish, who is American, are Jews who live in New York. When Lena's mother, who arrives from Germany, meets her at a hotel, she finds an almost-dead woman lying on the hotel floor. She accompanies the injured woman to the hospital and meets David, who is the woman's son. After David's mother dies from the injuries, a question remains: was she murdered? The trail leads to Germany. Apparently, Lena's mother has some kind of relationship with David's mother that reaches back into the dark German history of the 1940s

Featuring music instead of any dialogue and set in a near Kafkaesque future, this loose remake of The Cabinet of Dr. Caligari follows a bureaucrat whom mysterious Dr. Ramirez and his hideous sidekick want as their latest victim.

Albert is an introverted travel agent living a lonely life in New York. When Louie, his best friend from childhood, appears having just escaped from prison, Albert's quiet existence is permanently disrupted. what ensues is one long, crazy night in New York that will change both their lives forever.

New Year's Eve takes on new meaning when the Devil, Jesus Christ, and Christ's assistant Magdalena discuss and debate the End of the World.

The Wooster Group's production of Anton Chekhov's Three Sisters, translated by Paul Schmidt and directed by Elizabeth LeCompte, with performances from Kate Valk, Peyton Smith, Scott Shepherd, Ari Fliakos, Anna Kohler, Beatrice Roth, Ron Vawter, and Willem Dafoe. This presentation of the 2003 production of BRACE UP!, designed by Ken Kobland and LeCompte, incorporates close-up recordings of the performers simultaneously with continuous wide-angle footage.

A courier who represents Moroccan dissidents arrives in Washington with secret documents.

White Homeland Commando takes the familiar terrain of network action drama and tilts the playing field. Reminiscent of today's popular reality-based cop shows, White Homeland Commando offers a straightforward story: four members of a special police unit investigate and infiltrate a New York-based white supremacist organization. But that is where the commonplace ends. The teleplay is shot and edited in a highly textured visual style, the colors are subdued yet somehow garish, and the sound is deliberately just out of sync with the speaker's lips. Occasional static combines with jumps in the plot — the editing is reminiscent of a television viewer flipping channels.

The story of Willard from Ashley's opera Atalanta, recounted in 3 parts.