Women and their children disappeared without a trace in a mountain near Rome. The case remains unsolved and therefore becomes a myth and the film sets out to discover what this and a myth actually is, namely an expression of past history in time and space. We see like in a very old play the appearance of the actors playing the myth, who become more and more intensely mythical themselves. They speak up and yet suffer, they are just playing and yet they are guilty. The narrator, the choir, the revenge, the madness, the love, the death. This is what Blue is made of!

Documentary about German film critic Michael Althen.

A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?

In 2016, Edgar Pêra released The Amazing Spectator, a playful investigation into cinema’s disquieting essence that had everything from negative film images of boobs and positively splendid interviews to a donkey hand puppet. The film and an accompanying book formed his PhD thesis. But as so often with him, projects turn into obsessions – especially when there are masses of notions not pondered, thoughts not elaborated upon. And so KINORAMA - Beyond the Walls of Cinema was born, a stand-alone continuation of The Amazing Spectator that looks at cinema’s future in cyberspace and, accordingly, perhaps the end of its enslavement to figurative representation, the 'stupid sacred in narrative cinema' (to use a Pêra’ism), realism and artificiality in 3D cinema, and many other aspects.

With free eyes, an open heart, good friends and a handful of luck, Gurcius Gewdner revisits some of his adventures of the past five years, survives the relentless Russian winter and asks the following question: How far can an underground Brazilian film go?

Guided by his doctor (or is it voices in his head?), a young director is given a mission: to go to Texas to make an abstract roadmovie (“Unfocused film! Focus is repressed!”) about the Housecore Horror Festival of Film and Music, a festival that brings together cinema and extreme music.

Cologne filmmakers visit a local critic.

An alternative history of the not-so-well-known West German genre cinema of the 1960s and 1970s.

A documentary about German cinema from 1960 to 1990. It follows "Verfluchte Liebe deutscher Film."