Jürgen Brüning Filmproduktion

In Ger(wo)many, when an army of radical females is preparing for a final revolution and a utopian world without men, a young male soldier arrives seeking refuge at the convent.

Kôichi is a Japanese man living alone in Berlin. He has no job and hardly any friends. One night Kôichi meets Ryota at a bar which is also a sex club. Ryota came to Berlin to visit a German guy whom he had "met" on a dating app. His high hopes for romance (and marriage?) were quickly crushed since the German was only interested in sex, not even letting Ryota stay for the night. That is why Ryota ended up spending the night in the dark room of the sex club. Kôichi for some reason lets Ryota stay at his apartment. They have sex. Ryota goes out almost everyday to get laid by various local men and comes home to Kôichi's. Increasingly caught up with a strange feeling that is akin to but not quite frustration or curiosity (needless to say, it is not even close to love), Kôichi gradually gives himself up to sex with Ryota.

Gudrun has modeled her amateur German terrorist group after the 1970s Red Army Faction (Baader-Meinhof Gang). She attempts to imitate her heroes by kidnapping the son of a wealthy industrialist and hopes to negotiate leftist demands from the father. When Gudrun’s not spouting leftist verses (including during a hilariously brilliant fuck session), she’s trying to convince her all-male gang to abandon their heterosexuality, which she believes is the result of mass delusion.

Several short films about troubled gay youngsters who attempt to resolve their psychological issues through bizarre fetish play or sinister self expression.

Reminiscent of Sunset Boulevard, the action is transposed from the silver screen's old backlots to contemporary male prostitution and the pornographic industry.

Cyrus, Tim and Erik were high school buddies and meet again ten years later. They spend the summer together in Brazil. All of them are occupied in dealing with experiences from their past but new developments make them face their inner conflicts and their friendship with each other

In Fucking Different XXX, the passion for explicit sex scenes brought eight international filmmakers together. The eight short films shot in Paris, Berlin and San Francisco are about intensive sex, quick sex, romantic sex, funny sex, the first sex, and the last sex. The range goes from a lesbian quickie in the toilet, a bloodthirsty orgy, romantic fisting all the way to wet teenage dreams. The result is a never seen before look upon sexual tastes and varieties, far from clichés, with a fresh and sometimes humorous approach.

A down-on-his-luck adult film star sees a chance to make a comeback via a lesbian documentary film-maker, but she is exploiting him to get financial backing for her pet project.

Since his wife's death, Arthur, a peculiar and severe surgeon, cloisters his teen daughter Lucille inside a strange mansion. Desperate, Lucille tries to commit suicide and ends up with her face completely burned and bandaged. Arthur, with the assistance of his aunt, prepares a weird skin graft in order to give back Lucille a face, a face that resembles his beloved and deceased wife. To take care of her, the father then hires Joan, an attractive nurse with a somber past. Lucille and Joan start a forbidden and passionate love affair.

It is the year 2060 and AIDS has been eradicated. However, in some, the HIV virus has now mutated into a gene from which a drug can be produced that has become the white powder of the twenty-first century. With a virtually supported scanning system, secret police are trying to identify anyone who carries this gene. Filmed in Berlin, Taiwan-born multimedia artist and filmmaker Shu Lea Cheang’s science fiction dystopia revolves around a struggle to gain control over the production and exploitation of bodily fluids. Her film is like an orgiastic opera; a breathless round of bodies, secretions, performances and sexual acts often performed in the service of an overriding economy. An unusual, largely experimental and deliberately parapornographic drama in which the borders between the sexes as well as homo-, hetero-, bi-, trans- or intersexual are constantly blurred.

With things growing a bit stale in the bedroom, lesbian couple Claudia and Dylan agree to seek sexual experiences outside their relationship. Dylan discovers new pleasures at a sex club, while Claudia, in drag as Claude, finds a surprising partner.

A young zombie named Otto appears on a remote highway. He has no idea where he came from or where he is going. After hitching a ride to Berlin and nesting in an abandoned amusement park, he begins to explore the city. Soon he is discovered by underground filmmaker Medea Yarn, who begins to make a documentary about him with the support of her girlfriend, Hella Bent, and her brother Adolf, who operates the camera. Meanwhile, Medea is still trying to finish Up with Dead People, the epic political-porno-zombie movie that she has been working on for years. She convinces its star, Fritz Fritze, to allow the vulnerable Otto to stay in his guest bedroom. When Otto discovers that he has a wallet that contains information about his past, before he was dead, he begins to remember details about his ex-boyfriend, Rudolf. He arranges to meet him at the schoolyard where they met, with devastating results.

A lonely hairdresser watches the title sequence of "That Cold Day in the Park" then visits a local park to invite a down-and-out skinhead to his apartment. He draws the silent man a bath and talks to him as he soaks. He locks his guest in a bedroom. Next day, the skinhead leaves through the window and visits his sister, who's making a film called "Sisters of the SLA." He helps with a screen-test. The hairdresser has dreams and fantasies involving the skinhead, the skinhead returns to visit him, and then the filmmaker pays a call on the two men, exposing her brother as faking his silence and pretending a lack of sexual interest. Fantasies can come true.

Science fiction about a future Thailand. Futuristic, experimental, homo-erotic and with elements of a political essay. With a richness of themes and impressions that wouldn't get past the censor in Thailand. The maker doesn't mince his words and isn't afraid to look reality in the eye.

Perth has broken off contact with Poon. What's left are images showing the two men's sex life. Perth was Poon's twenty years younger cinematographer.

A cute, openly gay latin boy's hormones go into overdrive when his hunky cousin Angel arrives for an extended stay. The two explore the young and sometimes dangerous gay scene in the city's Latin neighborhood, with surprising outcomes.

A documentary recording the lives of Khon students in their last years of study. They spent six years under the rules of the military regime after the 2014 coup d’etat. The coup granted the regime power to change many things, especially education which became more focused on the monarchy and royal glorification instead of basic human values. While the world is becoming awakened to human rights, the military regime deems them against their own values. The shooting of the film began at the time of the king’s succession, shortly after which there was a great social awakening in Thailand. Meanwhile, the authorities used state violence and oppression in an effort to eliminate dissidents, even when they were just high school and university students.

A black cloak of forgetting, suppressing and covering has descended on the events that took place in Bangkok in spring 2010. Black as the night of complete darkness in which the film opens. Two men are in a fishing boat talking. One feels more than one sees that the seawater around them is warm and smooth, teeming with brightly-colored fish. By night, the rubber plantation also comes across as enticing and full of secrets, until lurid reminders of the bloody massacre flash up.

Invited by the conductor Premil Petrovic to stage Arnold Schoenberg’s Pierrot Lunaire, a musical theater work from 1912 based on the poems of Albert Giraud, LaBruce transposed a strange and tragic episode of true crime onto the composition. Complementing the original atonal score is a narrative about a trans man who is outed by his girlfriend’s father and forbidden from seeing the young woman again. Crestfallen, the protagonist decides to prove the fact of his manhood by castrating a taxi driver and then revealing his newly transplanted member to the two of them. This story, which for LaBruce “serves as a kind of allegory for all gender radicals and outcasts driven to extremes by the disapproval and hostility of the dominant order,” is rendered in a visual style that nods to the era of Schoenberg’s melodrama. LaBruce cheekily appropriates the formal vocabulary of silent cinema with black-and-white photography, irises, and intertitles like “A cock, a cock, my kingdom for a cock!”

This documentary, composed of various video clips and footage, is an exploration to search for some missing jigsaw pieces in history. Something that turned someone into a hero, or an absolute jerk. Some things are hidden under the carpet, from Hiroshima to Teresa Teng to the Space Race, an Olympic and the moon.