Norbert Langer

Susan arrives in Haiti to live with her husband Jack, who lives with a lesbian housekeeper and Olga, a nymphomaniac platinum blonde, introduced to her as Jack's sister. Susan begins to have nightmares about voodoo ceremonies and murder.

The end of the Second World War marked the beginning of the Cold War. The Iron Curtain became impenetrable, so western intelligence agencies sent spies behind enemy lines to find out what they could about the Soviet armed forces.

Thomas Gottschalk appears in front of the camera for the first time with his son Roman, who goes in search of clues about the "Supernasen" cult movies of his father and his friend Mike Krüger. Coming from America, he visits a "Supernasen" revival festival at Lake Wörthersee, which is being held to mark the 40th anniversary of the cult movies and is also the exact year of his birth! He wants to investigate the question: "How could my father be in such films? Isn't that rather embarrassing or really iconic today?"

An educational film about an aspect of political economy. The concepts of use value, barter value and labor as a commodity are the subjects; they are intended to introduce the process of understanding the theory of value of work and the law of values, alienation and fetish.

UFO's, Lügen und der Kalte Krieg (UFOs, Lies and the Cold War) is a German documentary. It deals with the phenomenon of mass UFO sightings during the Cold War and the reasons why UFOs are not a topic of discussion for mass-media today, which is considered to be serious.

In 1987, colour slides were found in a second hand book store in Vienna which turned out to be a collections of photographs taken in the Lodz ghetto by the Nazis' chief accountant. Walter Genewein boosted productivity in the ghetto while keeping costs down, a policy which led to the Lodz ghetto surviving much longer than any other in Poland. He recorded what he considered to be the subhuman aspect of the Jewish workers and he was concerned only with the technical quality of his photos. Director Dariusz Jabłoński's prize-winning film uses the photographs in a different way. He recreates for us the suffering of inmates, giving a compassionate picture of that it was like to be trapped in the ghetto. (Storyville)