After his release from prison, ex-convict Franz Walsch finds his way back into the Munich criminal underworld. His attentions focus upon two women, Joanna and Margarethe, as well as upon Günther, his friend who earlier shot his brother.

In a dark and spare theatrical space, four characters use gesture, language, and movement to explore themes of desire and mortality.

Collage of dramatic scenes, some exaggerated to comic effect, with asynchronous sound from well known classic, operatic, and rock and roll music – with different approaches to love, suffering, and death.

Schroeter’s film is a chronicle of Germany from the Nazi era until the economic boom of the 1950s and 1960s, centering on three women who search for a career as singers and dancers.

Werner Schroeter's stunning split-screen short deals with what the director called "archaic, fundamental themes" of love and mourning.

Berta, a naive young maid, searches for love when the army engineers come to town to build a bridge.

Nik, a released prisoner who started writing in prison, wants to leave his past behind him, but refuses to contact his former girlfriend and her family. Under the name of his jail buddy Henry, he moves in with his pen pal - who has never seen him - and is always watched suspiciously by their roommate. Nik began writing in prison and now seeks contact with the literary culture, even though he feels disgusted by the pompous fuss of this society. He is not without talent and works on a novel in which he minutely describes the abduction of an industrialist. Henry gets shot at the prison breakout and visits Nik to get help from him. He likes his novel plot and wants to put it into action.

Early Rosa von Praunheim short film. Originally intended to be the ending of "Die Bettwurst".

One night when seeking his estranged wife, Hoffmann goes to the youth center where she works. The police are there rounding up radicals who frequent the center - Hoffmann runs into the building and ends up being shot in the head. He awakens with brain trauma, partially paralyzed and unable to speak. The police accuse him of stabbing an officer; the radicals herald him as an innocent victim of police brutality. During his slow recovery at the hospital, Hoffmann must piece together his life and struggle to remember the events of that night.

Technical draftsman Herr R. is a dependable guy. He gets along with his colleagues although his boss wants him to go beyond technical cleanliness to problem solving. He's a dutiful husband; his wife's a social climber and pressures him to seek a promotion, but they also share sweet moments. He's a caring father, helping his son with homework. His parents visit; his mother criticizes his wife. Old schoolmates drop by, as do neighbours. Some comment on his wife's expensive tastes. His promotion may be a long shot, especially after he gives a dull and tipsy toast at an office dinner. But why would Herr R. run amok?