Mr R. (Kurt Raab), his full name is irrelevant, is a hardworking, almost invisible man. He laughs along when his coworkers make stale jokes to shorten the long days. He neatly completes his draftman's assignments and politely nods when the boss berates him. He smokes too much, 80 a day, and at the yearly checkup is told to cut the habit down. His son fails at school and Mrs R. wishes for nicer furniture and a skiing holiday, when Mr R. is promoted.

“No, no, geh' nicht vorbei, als wär' nichts gescheh'n, Es ist zu spät, um zu lügen, Komm und verzeih, ich werd' mit dir geh'n, Wohin dein Weg auch führt, Und die Welt, sie wird schön.”

– Christian Anders, Geh nicht vorbei (1969)

So why does Herr R run amok?

Bruno Stroszek (Bruno S.), his friends Eva (Eva Mattes) and Scheitz (Clemens Scheitz, responsible for the fairy-tale music you hear in this film) decide to leave dreary #Berlin behind and move to #Wisconsin where the latter's nephew lives. A new life, with dreams of music and animal magnetism, awaits them there.

“Was ist loos? Der Hund is loose.”

– Clayton

As so oft with #Herzog, the story behind Stroszek is as engrossing as the resulting film. Documentary maker Errol Morris and Herzog were fascinated by Wisconsin's own Ed Gein and wondered if Gein had dug up his own mother, as was rumoured at the time. As they would, they decided to open the poor woman's grave. Morris never showed up, and neither did Herzog but only because his car broke down en route to Plainfield, Wisconsin. Trying to get the vehicle fixed, Herzog entered the workshop of a Clayton Szalpinski.

 

A character in his own right, and a non-actor to boot, Clayton ended up in Stroszek as Scheitz's nephew; a MacGuffin odder than a dancing chicken.

“We're in America now.”

– Bruno S.

A lot of #soccer there's not, in Wim Wenders' Die Angst des Tormanns beim Elfmeter. What we do have happens almost right at the start. After a foul, the titular goalkeeper Bloch (Arthur Brauss) is removed from the match. Frustrated he leaves and finds himself roaming the streets of #Vienna where he picks up boxoffice girl Gloria (Erika Pluhar). In the morning he kills her and travels to the countryside, waiting for the police to arrest him.

“Ich werde mich entschlossen verirren.”

– Peter Handke

Die Angst is an early, perfect example of Junger Deutscher Film (”New German Cinema”). Its cinematic thanks to Robby Müller's observant eye and Peter Handke's precise language, both describing scenes and performers as if observed through a fourth wall.

 

A very slow burning road movie, a Taxi Driver in reverse if you will, that does without the neurotic showmanship of its Hollywood counterpart.

In typical Western fashion the credits for William Klein's Festival panafricain d'Alger focusses on the French and American participants. After Algeria regained its independence in 1962, it became Africa's – and the #AfricanDiaspora's – centre for postcolonial and liberation moments.

“À bas le colonialisme ! À bas l'imperialisme !”

The 12-day Festival panafricain attracted 5000 people from all over the African continent, as well as liberation fighters from the United States.

Daniel (Bernd Feuerhelm) is a young man in #WestBerlin exploring his homosexuality. Initially he opts for a spießbürgerlich, petit-bourgeois, almost heterosexual affair. He then probes further, swings by Berlin's public toilets and pools. Only when he encounters a leftwing gay commune he finds that pride, not conformity, is his way of living his life.

“Werdet stolz auf eure Homosexualität! Raus aus den Toiletten, rein in die Strassen! Freiheit für die Schwulen!”

Von Praunheim's Nicht der Homosexuelle ist pervers is a plea for rebellion and visibility. For revolt and love. A wakeup call for gays and straights alike. Such a stir this film pamphlet made it became the blueprint for West-Germany's gay liberation movement.

Veronika Voss, once one of Ufa's greats and rumoured lover of Goebbels, has a chance meeting with #sports journalist Robert Krohn. Despite not recognising her at first glance, the faded star and her world turn out to be irresistible to him.

“What do you want from Voss? She's no good at soccer.”

– Grete

Die Sehnsucht der Veronika Voss [litt. The yearning of Veronika Voss] is #Fassbinder's tribute to both #BillyWilder's Sunset Blvd. (1950) and real-world actress Sybille Schmitz whose career, like Voss', suffered greatly due to her #morphine dependence after the Entnazifizierung.

Commissioned for a West-German TV series called Kunstgeschichten (litt. both “art stories” and “#art histories”), filmmaker Harun Farocki visits artist Sarah Schumann in her #Berlin studio.

“An diesem Tag war das Bild, drei Monate nach Beginn und 67 Arbeitstagen fertig.”

– narrator

The resulting documentary shows the process of creating one art piece over the course of nine weeks. Schumann's work in that period consists of collage portraits of women important in her life.

Office worker Josef K. is brought to trial and at no point told what he is accused of, if anything. Orson Welles' Le procès is an adaptation of Franz Kafka's unfinished 1914/15 novel Der Prozess. The manuscript, guarded from Kafka by his friend #MaxBrod in an attempt to keep the self-doubting author from destroying his work, was against K's wishes posthumously (re)assembled by Brod without the latter knowing the intended sequence of the loose pages nor what chapters were finished.

“All these fancy electronics, they're all right in their place, but not for anything practical.”

– Uncle Max

The story holds up in its vagueness thanks to the quirks of #Kafka's Brotberuf; Franz K. was a trained lawyer, working as an insurance agent in an impossible artifice world of reports and precise wording. Within its extended logic, a man can get perplexedly lost, either within the walls of his #office or one's bed.