Neurasia

Schroeter's virtuosic staging of the Oscar Wilde tragedy is a complex montage of image and sound, filmed on the grand steps of Baalbeck, the ancient Roman temple in Lebanon, and interweaving Lebanese and German folk songs with the music of Verdi, Wagner, Strauss, Mozart, Bellini, and Donizetti. Elfi Mikesch, the cinematographer of Schroeter’s later films, designed the film’s sumptuous costumes. A contemporary critic for Le Monde wrote admiringly of Schroeter’s depiction of "the deadly struggle between dark Christian morality and luminous paganism.“

Living together in an isolated house, three women go to murderous lengths to keep strangers out of their private retreat.

Set in Hamburg's “Hell's Kitchen,” a waterfront milieu of gangsters, pimps, dealers and prostitutes, the story follows the attempts of an ex-seaman first to insinuate himself into the scene, and then to extricate himself from it. He becomes a small-time pimp, sending his naive girlfriend out onto the streets thinking she is financing their middle-class future. When he becomes involved with an old pal, Nil, he increases his criminal portfolio. But when he steals Nil's girlfriend and things heat up, he leaves for his sister's middle-class home in Berlin, where his attempts to fit in are doomed from the start. Returning to Hamburg, he starts a rapid decline that delivers him into the waiting arms of Nil, whose revenge is merciless.

Two women–a literature professor and a painter–start to rely upon their friendship as an alternative to their unhappy relationships with the men in their lives.

Fusing Shakespeare‘s tragedy with the Verdi opera, Schroeter's Macbeth is a fascinating television experiment shot entirely in a studio with several electronic cameras. As Schroeter would recall, "I arranged the Verdi music for a quartet of violin, accordion, piano and oboe, but modeled the rhythms on Argentinian tangos and boleros. The actors sang with horrifying, shrill voices.... The use of video allowed me to produce extraordinary colors.... Of all my films, Macbeth was most unwelcome: Audiences don’t like their Shakespeare to be presented in this way, but I do not differentiate between kitsch and culture...". - MoMA

Werner Schroeter's rhapsody of excess leaps from 1949 Cuba to contemporary France to points in between, while its feverishly shifting visual style evokes and parodies everything from kitschy Mexican telenovelas to silent French art films.

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.

With the ascetic grandeur of Carl Th. Dreyer’s The Passion of Joan of Arc, Schroeter evokes the visions of Saint Joan, partly through unused footage of Darling and Caven pantomiming in his 1972 film The Death of Maria Malibran. - MoMA

A mentally unstable woman and her son move to a sprawling mansion in Portugal to grow roses.

Carla is a different form of homage, in which Carla Aulaulu sings a song by Gitta Linds.

It is love at first sight: elderly secretary Luzi and young, unemployed Dietmar find each other by accident in Rosa von Praunheim’s outrageous genre, social satire.

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

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.

A love triangle, accompanied by traditional German Christmas songs.

La morte d’Isotta is a passionate melodrama inspired by Richard Wagner and Comte de Lautréamont, with Schroeter appearing in a principal role.

An exploration of the cult of the genius, an anti-heroic figure who chooses to be a social outcast and live on the fringe of bourgeois morality.

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?

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.

One of Schroeter’s first experiments in choreography, as he stages actors in an empty room.

Daniel, a young gay man, tries to pursue a traditional bourgeois relationship and lifestyle with his live-in boyfriend, but after their love quickly fades, he finds himself moving through different avenues of gay subculture, in pursuit of exotic pleasures.

Prostitutes, drunks, gays, senior citizens, and children, pass through one of the world's most famous parks.