Libgart Schwarz

Taxi für eine Leiche

Klara

A movie theater in the suburbs of Vienna. At the end of the show, a corpse is suddenly sitting in the auditorium. The mysterious tie murderer has struck again. Together with her friend Schorsch - the head waiter of the "Nachtigall" - the cinema owner Hermine wants to get rid of the "business-damaging" corpse inconspicuously. Mutual suspicions begin among the patrons of the restaurant.

Braunschlag

Frau Berner

To save his town Braunschlag from bankruptcy, the mayor decides to fake a Marian apparition. This black-humored farce revolves around greed, corruption, churchianity and alcohol.

Malina

Miss Jelinek

An unusual story of a triangular relationship in Vienna. A woman shares an apartment with a man named Malina. The woman meets Ivan and falls under his spell. It will be her last great passion. Her feelings are so strong and all-encompassing that Ivan can neither understand nor return them.

The Goalie's Anxiety at the Penalty Kick

Anna

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.

Wundkanal

Voice

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)

Live Is Life

Josefine Stolz

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

Class Relations

Therese

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.

Antigone

Botin

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.

Summer in the City

Libgart

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

Winterreise im Olympiastadion

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.

Die Ortliebschen Frauen

Josefine Ortlieb

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.

My Sentence

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.