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.

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.

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

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 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.

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

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!”

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.

A young Canadian woman who sings in Kreuzberg in a rock band, and her boyfriend, who lives in a politically active flat-sharing community. Due to the new capital situation, demolished buildings suddenly become sought-after buildings. The living and working situation of the musicians and other scene-people deteriorates massively.

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.

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.

Danse Macabre is a dance that explores deaths that are remembered and forgotten in history, including those of kings, citizens, and stateless people. In Thailand, many deaths were suspicious in nature over the past 90 years, but nobody dared to question them.

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.

Referencing sixties B-movies like "They Saved Hitler’s Brain" and "The Brain That Would Not Die", Ulrike’s Brain finds Doctor Julia Feifer (Susanne Sachsse) arriving at an academic conference with an organ box. Inside the box: the brain of Ulrike Meinhof, which was saved by the authorities along with the brains of the three other leaders of the RAF after their deaths in Stammheim prison. Doctor Feifer can communicate telepathically with Ulrike’s brain, which is directing her to lead a new feminist revolution. To that end, she is searching for the ideal female body to transplant Ulrike’s brain into. At the same time, her arch-rival, Detlev Schlesinger, an extreme right-wing ideologue, arrives at the conference with the ashes of Michael Kühnen, the former German neo-Nazi leader and infamous homosexual who died of AIDS in 1989. When the two Frankenstein’s monsters of the extreme left and the extreme right meet, chaos ensues.

UKI’s storyline unfolds as we follow a defunct replicant REIKO dumped on Etrashville - a vast dump for tech - who tries to pull themselves back together with the help of Etrashville's transgenic inhabitants. Parallel to REIKO’s trajectory is that of an infected city where we are made aware of the reckless schemes of the biotech enterprise, GENOM Co.

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.

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.

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.

A soap opera inspired by 80s dramas, following German mogul Michaela von Baer as she battles enemies to protect her company, “Von Baer Enterprises.” Her cousin, Russian starlet Clarissa Oktavia, is presumed dead by her psychiatrist, Dr. Ingolf Robert, but returns alive. Michaela’s nemesis, policewoman Penelope Stöcker, seeks revenge for her father’s suicide. Michaela loses everything and returns to Monaco. Police Inspector Brigitte Hasentritt, who investigated Clarissa’s murder, becomes a central figure, marrying one of Michaela’s ex-husbands, owning most of the company, and facing vampires and attack dogs. By the series’ end, all characters are vampires, crossdressers, or insane. The finale shows Clarissa being eaten by Penelope and Brigitte, Dr. Robert impersonating Clarissa, and Michaela dying from choking on a cheeseburger.

Aladdin’s parents separate when he is three. His father moves with him and his brothers to Tangier and re-marries. Then he leaves the family again and goes to Holland. Aladdin ends up on the street, sniffs glue, polishes shoes and keeps afloat by stealing. Years later, his father returns and finds Aladdin completely down and out. The boy steals from his own father and flees to the mountains, to Ketama. When an inner voice leads him back to Tangier, his father, to whom he is indebted, is dead: the trauma of his life. Desperate, he searches for a father figure and finds him in Felix, a foreign writer, who takes on the role of the magician in the story of initiation “Aladdin and the Magic Lamp” from "Arabian Nights". He helps Aladdin to come up in the world and leads him to the discovery of his creative power – his “magic lamp”: Aladdin takes up painting and finally manages to reach his long-awaited getaway to paradise, Europe, where he meets his princess and marries her.