A greater-Vienna seniors' home is run like a prison by the stuck-up female executive and staff. Hippie-type rebel Rochus 'Rocco' Siwak incurs a community service to be spent there as orderly. Sympathizing with seniors who still aspire to some dignity and self-realization, he helps them get around the rules, such as smuggling in contraband, and ends up inspiring them to form a rock band and enter a free podium competition. But it doesn't square with his own last shot as band guitarist.—KGF Vissers

After a long prison term, a free man wanders into a new reality.

A pessimistic drama about a family struggling to survive after the death of their father. Left behind are the simple-minded mother, the strong-willed daughter Josefine, another sister and a mentally retarded brother. Josefine takes over the reins and looks after the family. She turns her sister into a maid and forces her brother to live in the cellar.

Amina Handke adapts the 1967 theatre play Kaspar written by her father Peter Handke. Instead of a young man being tortured by language, we meet an old woman played by the director’s mother, Libgart Schwarz, who loses her linguistic abilities while rehearsing for the very same play. What begins as a pure and playful family meta-fiction turns into a surreal, partly nonsensical Babylonian confusion, it’s just that it’s not different languages that are clashing but layers and fragments of the German language, the language of the father. The film avoids the traps of representational cinema. It’s all noises and muttering, injunctions and an almost Dadaist pleasure in repeating sentences until they completely lose their meaning.

An old man is kidnapped. His interrogation uncovers the biography of a mass murderer: The 80 years old man was a SS leader and responsible for the killing of thousands of people in the Soviet Union. He also "invented" an evil technique of eliminating political prisoners: the manipulated suicide. Thomas Harlan reconstructs the history of a bureaucratic murderer, he also develops a direct connection between the Nationalsocialism and the treatment of prisoners of the RAF terrorists in the Stuttgart isolation prison. Robert Kramer filmed the shooting of Harlan's Wundkanal: Notre Nazi documents a social experiment in which the children of Nazis and of victims meet a real culprit. The reality seems to be stronger that the fiction in Harlan's film. (Edition Filmmuseum)

A young man, recently arrived in New York from Europe, becomes swept up in a series of events that are beyond his knowledge or control.

A giant Monster comes to the city of Salzburg, destroys cars, kills the father of the director (Freud!) and finally meets fate (God!).

Goalkeeper Josef Bloch is sent off after committing a foul during an away game. This causes him to lose his bearings, and he wanders aimlessly through the city streets and spends the night with the box-office attendant of a movie theatre.

A fearless Antigone, refusing to allow the dishonored body of her murdered brother Polynices to be devoured by vultures and dogs, defies the Thebian tyrant Creon by burying him.

In the winter of 1977 Schaubühne staged texts from Hölderlin's "Hyperion" in the Olympic Stadium in Berlin, associating with historical, political events and terrorism of recent times.