Helmut Wietz

Romy Haag portrays Clarissa Vornfeist who dreams of fame, while Otto Sander in his role as Wilfried plans to transform her into a plastic doll using a prepared broiler.

A “film-noir” on double identity and role reversal. A man is looking for a woman to love. He finds her in a seedy bar and persuades her to marry him. The day she decides to flee… he kills her. To ward off suspicion, he moves in with the sister of the deceased.

In May 1974 Joseph Beuys flew to New York and was taken by ambulance to the site of the performance, a room in the René Block Gallery at 409 West Broadway. Beuys lay on the ambulance stretcher swathed in felt. He shared this room with a coyote, for eight hours over three days.

A collection of performance works enacted for the camera. The performances focus on interventions on the human body, using feathers, hair and garment-like sculptures worn by a performer, and are set against a neutral background or an otherwise deserted outdoor location.

A series of 9 performance art pieces and surrealist shorts created and primarily performed by Rebecca Horn.

"I thought the song was great and wanted to make a film about it. Then I came across a quote by Sartre. I liked that, too, and then the film was finished. In colour, of course. You can only make films in colour!" (Helmut Wietz) – An early music clip that does away with gender roles to some extent.

Romy Haag portrays Clarissa Vornfeist who dreams of fame, while Otto Sander in his role as Wilfried plans to transform her into a plastic doll using a prepared broiler.

Romy Haag portrays Clarissa Vornfeist who dreams of fame, while Otto Sander in his role as Wilfried plans to transform her into a plastic doll using a prepared broiler.

A “film-noir” on double identity and role reversal. A man is looking for a woman to love. He finds her in a seedy bar and persuades her to marry him. The day she decides to flee… he kills her. To ward off suspicion, he moves in with the sister of the deceased.

In May 1974 Joseph Beuys flew to New York and was taken by ambulance to the site of the performance, a room in the René Block Gallery at 409 West Broadway. Beuys lay on the ambulance stretcher swathed in felt. He shared this room with a coyote, for eight hours over three days.

A collection of performance works enacted for the camera. The performances focus on interventions on the human body, using feathers, hair and garment-like sculptures worn by a performer, and are set against a neutral background or an otherwise deserted outdoor location.

A series of 9 performance art pieces and surrealist shorts created and primarily performed by Rebecca Horn.

"I thought the song was great and wanted to make a film about it. Then I came across a quote by Sartre. I liked that, too, and then the film was finished. In colour, of course. You can only make films in colour!" (Helmut Wietz) – An early music clip that does away with gender roles to some extent.

In collage sequences, the surrogate of synthetic sensuality takes form and seduces the sailors in the guise of a Hawaiian girl. In ritual punctuation, she distributes deaths which seemingly only the hardy siren Fatality can survive.

In this mystery/thriller based on a novel by Patricia Highsmith, Nico Thomkins (Udo Schenk), a writer, and his wife Helen (Anke Sevenich) are in the habit of playing games with one another. Even while they are breaking up, they are sufficiently in tune with one another to continue this practice. When the writer's wife takes off without leaving a note behind, people begin to suspect that he may have murdered her, and he plays along with this notion to the point of planting clues which would incriminate him. Obviously, no one with a shred of common sense would do such a thing, and these tricks get him into trouble. However, his troubles don't really begin until he starts to search for her in earnest.

Crowds of people storm through the streets with red flags, to come together sometime in the middle of the picture. An insert promotes a Revolutionary German Workers Party.