DEM Film

Taking place around the German reunification of 1990, a group of East Germans cross the border to visit West Germany and get slaughtered by a psychopathic cannibal family who want to turn them into sausages.

A traumatized young man, abused by his father, imagines himself as Adolf Hitler when dreaming of revenge. Schlingensief released this film, which follows no linear narrative structure, at a moment when right-leaning German intellectuals argued for a coming to terms of the country’s relation with its Nazi past. Schlingensief disagreed. (MoMA)

In Africa - Land of the ever shining sun, German soldiers fulfill a UN mission. For homosexual General Brenner its a dream comes true: Here, where the people are still native and simple, the German can prove his abilities. But then the virgin wife of Brenner gives birth to her first child. Is it the new Messiah? But what is a Messiah good for, if the UN is already there?

An eccentric homage to the Rainer Werner Fassbinder days of German filmmaking.

Egomania is a visually stunning end-of-the-world melodrama about lust, jealousy and murder set amidst solar eclipses, orchestral chants and the distant thunder of the boiling sea. The film’s characters – riddled with unconscious desires – find themselves imprisoned on an island. Drawing parallels to the work of British filmmaker Derek Jarman and staring Jarman’s actress-muse Tilda Swinton, Schlingensief’s raw and almost mythological film stands in contrast to his more offensive efforts.

A mockumentary directed by Christoph Schlingensief.

Returnee Willy von Mühlenbeck has to realize that his evil brother Martin has risen to become the head of the industrialist family, while their ailing mother is in the hands of sinister doctors. When he falls in love with the terminally ill Els, fate takes a tragic course.

An early declaration of war on narrative cinema, using a barrage of visual and acoustic elements while at the same time juggling ironically - as he still does - with the term 'avant-garde'. A number of other preferences and obsessions were evident at an early stage, e.g. the mind-numbing habit of having his people stumbling and screaming around: life as a race track. His films likewise feature a lot of theatrical and cryptic outpourings. No wonder that they failed at the box office. No wonder either, however, that Schlingensief was attracted to theatre.