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Geschichten vom Kübelkind

Stories of the Dumpster Kid
Edgar Reitz, Ula Stöckl
1971, 100 min. (selection), German

The Dumpster Kid (Kristine de Loup) grows from a placenta. Dr. Wohlfahrt from social services finds her on a hospital rubbish dump. In subsequent episodes, she looks for foster parents to take responsibility for the kid and integrate her into society. Dumpster Kid goes to school and to church. Always dressed in a red dress and red tights, she is nosy about everything, asking a few too many questions and taking whatever she desires. She steals and has sex, seducing some and humiliating others. She meets Al Capone and d’Artagnan. She is always in danger, yet immortal.
Ula Stöckl and Edgar Reitz made Geschichten vom Kübelkind in 1969 entirely with their friends, taking on a radical position outside the standard cinema system with their series of 25 16-mm shorts of different lengths. Guests at a pub-cum-cinema in Munich could select the episodes they wanted to watch from a menu.
The Geschichten vom Kübelkind were shown at the very first edition of the International Forum of New Cinema in 1971. Now the series has been digitally restored and will screen alongside Robert Fischer’s documentary Der Film verlässt das Kino: Vom Kübelkind-Experiment und anderen Utopien. (Stefanie Schulte Strathaus)

Robert Fischer was born in Greven, North Rhine-Westphalia, Germany in 1954. He has been a writer since the 1970s, and made a name for himself with his books on Alfred Hitchcock, Orson Welles, David Lynch, Quentin Tarantino, Jodie Foster, Bernhard Wicki, Jean-Pierre Melville, Rainer Werner Fassbinder, Robert Bresson, André Bazin, and François Truffaut. Along with Joe Hembus, he co-wrote a history of the New German Cinema. He spent five years as assistant director of the Film Museum at Munich’s Stadtmuseum. In 1999, he made his first documentary, Monsieur Truffaut trifft Mr. Hitchcock. For twenty-five years, he was a programmer for the Munich Film Festival, and he is currently a consulting producer for The Criterion Collection in New York. Robert Fischer lives in Munich.

Edgar Reitz was born in Morbach in the Hunsrück region of the German state of Rhineland-Palatinate in 1932. He studied German, Journalism and Theatre Studies in Munich. Starting in 1957, Reitz worked as a dramaturge, cinematographer and director of industrial and documentary films. He was one of the members of the Oberhausen Group and taught Directing and Camera Theory at the Institute for Film Design of the Ulm College of Design. In 1966, he made his first feature film, Mahlzeiten, with his company, Edgar Reitz Film Production. In the following years, he shot numerous feature, documentary, and experimental films. Beginning in the mid-1970s, he also authored a number of publications on film theory and film aesthetics, as well as stories, essays, poems and literary versions of his films. He founded the European Institute of Cinema Films (EIKK) in Karlsruhe in 1995 and headed it until 1998. Since 1994, he has been professor for Film at the State College of Design in Karlsruhe. Edgar Reitz gained international renown with his Heimat trilogy, which consists of thirty-one individual feature-length films that build on each other. Edgar Reitz lives in Munich.

Ula Stöckl was born in Ulm, Germany in 1938. After studying languages in London and Paris, she studied at the Institut für Filmgestaltung in Ulm from 1963 to 1968. She has since directed theatre productions and more than twenty films. She has worked as an associate lecturer at the German Film and Television Academy Berlin (dffb), and is an associate professor at the University of Central Florida (UCF) in Orlando. A number of films by Ula Stöckl have been shown as part of the Forum, including Geschichten vom Kübelkind (Forum 1971), Der Schlaf der Vernunft (Forum 1984) and Das alte Lied (Forum 1992). In 2015, her graduation film from Ulm, Neun Leben hat die Katze, screened in the Berlinale Classics section. That same year, the Berlinale Panorama section showed Die Widerständigen “also machen wir das weiter...”, a work by her long-standing friend and colleague Katrin Seybold, who died in 2012; Stöckl completed that film.

The alternative is, unfortunately, having to deal with us

‘The Dumpster Kid’ is an artistic creation: in every story, society forces her to learn something. But she – fully grown from the moment of her birth – learns more than is called for, unasked. This extra knowledge, which is not wanted by society, regularly puts her in danger. Dumpster Kid dies in each story, and across each genre. Her stories are set in a whole range of different time periods.
What is a Dumpster Kid? At the beginning is a joke about discarded afterbirth. Afterbirth is to be thrown away, not raised as a child. And thus begins Dumpster Kid’s unjust situation. Dumpster Kid grows up in a rubbish bin. Right from the outset she wears red tights, red shoes and a red dress with floral patterns. The actress who plays the Dumpster Kid, Kristine de Loup, wears these clothes along with a black Chinese pageboy wig in every story. This means that Dumpster Kid is recognisable straight away: no matter what she does, she will never be like the rest of us.
Initially, it looks as if Dumpster Kid were quite happy in the rubbish container. After all, this is all she knows. Then someone discovers her and tells her that that is not the way it is supposed to be.
Everyone is supposed to have a mother and father, a warm bed in a bright bedroom, and to be surrounded by love. This is all new to Dumpster Kid, and out of good will she agrees to leave her rubbish container.
Not everything was perfect in the rubbish container, and we should not leave her in there. But the alternative, unfortunately, is having to deal with us, with the rest of the world, and that is too complicated for Dumpster Kid. Suddenly she has to stop acting according to her wishes. She has to go through all the processes of learning and growing up. The result is that she kills, hurts and steals, is then killed herself, only to return in the next story to take vengeance. (Edgar Reitz Stiftung)

Dumpster Kid Menu

1) Old Men
If Dumpster Kid wants to, she can make some men end up standing around in their underwear. 1’06’’
2) Dumpster Kid's Childhood
You should definitely see this story! An afterbirth leads an independent life – but then child welfare comes along. 6’13’’
3) Dumpster Syndrome
Something about the ability of our society to understand everything, forgive everything and pay for everything. 10’15’’
4) Cleanliness is a House’s Decoration
Dumpster Kid in the shower, in the rain and under the eaves. 4’30’’
5) Cats Have Fleas
Dumpster Kid pretends to sleep, because she wants to find out what might happen. But her stepmother interferes. 8’34’’
6) Dumpster Kid Becomes Smooth and Round   
A spiritual man who knows what is good for people attempts to raise Dumpster Kid. 4’52’’
7) A Tiny Bit of Happiness
Dumpster Kid fools around with the fruits of the field. 2’03’’
8) Dumpster Kid Gets to Know a Lord and is Hanged
That’s true, but the revenge is particularly sweet. 17’10’’
9) Dumpster Kid Tells a Fairy Tale to a Queen
A story to listen to and watch. 6’08’’
10) Dumpster Kid Learns a Dubious Game
Dumpster Kid learns first-hand how a pleasurable connection develops between stroking and hitting. 3’31’’
11) Dumpster Kid Learns How to Say No
Dumpster Kid is getting married, but at the crucial moment she suddenly gets nervous. All hell breaks loose. 16’40’’
12) A Marmot Learns How to Dance
Dumpster Kid is supposed to learn what to do at the country fair. She sings songs, swears at people and steals the cash box. 18’51’’
13) All Power to the Vampire
It is hard to believe how many vampires there might be. Dumpster Kid calls upon them all for a major demonstration. 2’19’’
14) Freedom Through Al Capone
Dumpster Kid is constantly talking about revolution, but Al Capone, the pig, is talking about something quite different. 18’36’’
15) A Shoplifter     
After a nice shopping spree, Dumpster Kid ends up sitting on the lap of the shop assistant and goes along with it only a little bit. 3’38’’
16) Particularly Kind Parents
Dumpster Kid has to learn that sexual intercourse can also be quite nasty when it takes place in the toilet. 9’
17) The Value of Money is Low on Earth    
Dumpster Kid goes on the game and is murdered. 15’13’’
18) To the audience: Please leave any stories and moneymaking tips at the box-office.
19) Burn the Witch  
Is Dumpster Kid destined to be burnt at the stake? Will she be saved from above? 4’15’’
20) To the audience: Please leave any stories and moneymaking tips at the box-office.
21) Dumpster Kid Likes to Have a Good Friend for Dinner  
The way to a person's heart is through his stomach. But sometimes you ruin him that way. 9’35’’
22) Dumpster Kid Drowns Dumpster Kids
There is lovely music to this one, and it is all very poetic. 4’13’’
23) To the audience: Please inquire about stories and moneymaking tips at the box-office.
24) Dumpster Kid Rides for the King
The greatest film of all time. Intrigue, old walls, squeaking floors, the queen sleeps with the wrong man, Dumpster Kid marries d‘Artagnan and rides off on a white horse, more intrigue, and this time Dumpster Kid plays along. By the end of it, all the blame is put on her. 25’30’’
25) The Bank Account in the Woods
Dumpster Kid believes in our credit system. She therefore has to jump out of the fourth floor of a house and sing a sad song. 11’46’’
26) to 64) Please leave any stories and money-making tips at the box-office.
(Edgar Reitz Stiftung)

Why Dumpster Kid? A statement by Ula Stöckl and Edgar Reitz

Because in 1969 we had no desire to make another ninety-minute film that would get no distribution.
Because we came up with too many stories for a normal film.
Because whilst shooting we didn‘t want to restrict ourselves to films of two minutes or twenty minutes. Therefore we made many films between two and twenty minutes long.
Because when you stop thinking about German distribution companies, the world becomes beautiful once again.
Because we like true stories, as well as untrue ones.  
Because Dumpster Kid is allowed to die at the end of one story without having to be dead in the next one.
Because we like playing with costumes. But we like playing without them too.
Because we wanted to film a story about being brought up.  
Because we wanted to see all our friends in good roles.  
Because we were so angry.
Because Dumpster Kid likes fucking.
Because we think it is crap that she has to apologise for that, and we think the FSK is a pile of crap too.
Because one day the tapes will be made, and we wanted to know whether that will ever happen with the distributor.
Because we got money from the federal ministry and under no circumstances did we want to give it back.
Because we are all Dumpster Kids
And last but not least, we opened a cinema in a pub in Munich and Dumpster Kid is shown there every day apart from Monday, entry costs DM 3.50, and Dumpster Kids are on the menu.
(Edgar Reitz Stiftung)

A lot of film in opposition to film

You can watch the stories à la carte and in portions at the Rationaltheater, a pub in Munich, with shows starting at 11 p.m., every day except Monday. German broadcasting company Westdeutsches Fernsehen shows them at the very end of its programme as a bedtime treat. Others intend to follow suit.
When their latest long movies had remained on the shelves, no company being prepared to take the honourable risk of distributing them, Ula Stöckl and Edgar Reitz left the patterns of conventional cinema and, for a start, produced twenty-two episodes of the KÜBELKIND ('Dumpster Kid') – movies that were finally allowed to be as short or long as they had to be: one minute and six seconds or twenty-five minutes and thirty seconds. The breakaway from conventional cinema, i.e., from bourgeois, old-fashioned cinema, was multifaceted and had far-reaching consequences, because it was not only a farewell to exterior restrictions like the usual ninety-minute format or to the dictates imposed on the production of movies by capitalistic considerations (which stipulate the content of movies). It was also – and this was a radical cut – a farewell to auteur films, which Stöckl and Reitz had paid ample tribute to, and a farewell to the cinematographic genre typical for bourgeois culture. And – last but not least – it was a breakaway from the conventional type of movie reception, which was considered unchangeable until the coming of underground films. As the finished product proves, all these were not decisions taken independently from each other. Here, one thing was connected with the other, just like one thing resulted in the other. The GESCHICHTEN VOM KÜBELKIND (Stories of the Dumpster Kid) are a cinematic revolution for our country. Even the FSK [self-regulatory body of the German film industry –Ed.] did not fail to notice that and testified that the GESCHICHTEN were 'full of immoral expressions', 'disparaged religious values' and 'presented sexuality in a disgusting manner'.  
The last sequence referred to is exactly two minutes and three seconds long: With her skirt lifted, Kübelkind wanders through long grass, past flowers and through grain fields – an orgasm characterised by nature throughout. Those who consider this disgusting must be averse to nature, and those who invented it much too humbly call it 'A tiny bit of happiness'.
The word 'Kübelkind' describes the afterbirth and is a Viennese word of abuse: something to be thrown away, in our context also the afterbirth of our civilisation, the afterbirth of cinema. Stöckl and Reitz create a Kübelkind (played by Kristine de Loup) that is already fully-grown when it is born – physically at least, because there is a blatant lack of intellectual and psychological maturity. The latter needs to be taught to the foundling. In short, what we watch Kübelkind go through is a series of stories on adaptation.  
But of course a Kübelkind is not willing to adapt to anything. If it is receptive to what is being taught to it at all, it is over-receptive and turns whatever it has learned against conventional habits. Kübelkinder remain nonconformist and are the incarnate antagonists of bourgeois thinking. This observation might – and should – become an established fact.
Afterbirth of cinema: Stöckl and Reitz's Kübelkind stories are set in all kinds of film genres.
Costume dramas, vampire films, history films, thrillers, musicals, science fiction and
'Heimatfilm' – Kübelkind moves through all these genres with their fixed regulations and long-established cinematographic structures – and breaks all their rules. Set against various historical and social backgrounds, the stories show us a vagabond girl who wanders through cinema culture and reveals its structures as fixations of certain behaviour patterns. Cinema culture – that is Kübelkind's message – is nothing but an instrument of support, a jockstrap for (...) society.
Weighty words on movie stories that may be interpreted altogether differently. Because the fun that the makers had in creating this monstrous cinematic anthology is conveyed to the audience directly. But does having fun doing something really mean seeing it 'altogether differently' than in its critical function? (Peter W. Jansen, “Die Zeit”, 23 July 1971)

No viewing for under eighteen-year-olds

Not a film for contemplative religious holidays. The film industry‘s self-regulating body (the FSK) only agreed to release a ninety-six-minute version of the film on the proviso that it would have an age rating of eighteen (suitable only for adults) and undergo half a dozen edits. ‘The story of the Dumpster Kid, an outsider of society,’ according to the reasoning for the decision ‘is confusing and incomplete for young people. The film is full of unsavoury turns of phrase. The disparagement, in the form of parody, of religious values is highly detrimental to young people. In addition, the portrayal of sexuality appears in a form that must confuse and disgust young people. (For example when Dumpster Kid masturbates in the barley field.) Moreover, the scenes in which Dumpster Kid is throttled and hanged, as well as the drowning of other Dumpster Kids, are done in such a way as to damage the development of young people. Therefore the working committee denies the granting of a certificate of viewing for under eighteen-year-olds. Result: released, pending edits, to audiences eighteen years old and above.’ After detailed information regarding the disgusting words and pictures that are to be deleted, the FSK comes to the pious decision that Ula Stöckl and Edgar Reitz‘s new film, even after having been edited and placed under a ban for young people, should not be shown on ‘the contemplative holidays’. (“Tagesanzeiger”, Zurich, 23 October 1970)

Rivette, Reitz, and some interesting parallels

Edgar Reitz was in the audience when LES MYSTÈRES DE PARIS, the documentary film that Wilfried Reichart and I shot about Jacques Rivette and his film series OUT 1, was screened in 2016 at the Munich International Film Festival. After it was shown, he came to me and said our film had deeply touched him, because the concept of OUT 1 and especially our interview partners’ recollections of filming had reminded him intensely of GESCHICHTEN VOM KÜBELKIND. There are indeed interesting parallels between OUT 1 and the KÜBELKIND stories: Rivette shot OUT 1 with Suzanne Schiffman as co-director; Reitz filmed KÜBELKIND together with Ula Stöckl; neither film series is imaginable without the upheavals of May 1968; both were made in 1970, i.e. ‘two years after ‘68’, as Rivette says; both are characterised by an enormous freedom in composition and acting; both were shot on 16mm; and above all, both Rivette/Schiffman and Reitz/Stöckl ignore, completely intentionally, all the conventions of traditional filmmaking and thereby shed, with great pleasure, all the associated constraints.
That was the birth of the idea for a documentary film about the stories behind GESCHICHTEN VOM KÜBELKIND. The moment was favourable, because Edgar Reitz was already playing with the idea of finally restoring the twenty-two KÜBELKIND episodes, thereby rescuing them from oblivion; the very successful restoration of OUT 1 encouraged him and made him feel obligated to carry out this plan. And I was eager to penetrate, become familiar with, and plumb the universe of GESCHICHTEN VOM KÜBELKIND.
At some point during the long talks with Edgar, I realised it would not be enough to limit ourselves to the time of the upheaval and renewal around 1970, but that the development that had led to these things was part of the topic, as was the question of the future of cinema, which everyone was already asking back then and which concerns us today more than ever before. Also in revisiting his experimental short films and film-theoretical texts from the 1960s, I increasingly got to know the inventor, tinkerer, researcher, pioneer and visionary Edgar Reitz and his love for his profession. Edgar’s inexhaustible curiosity about and passion for film and cinema are contagious. When he saw our film about the KÜBELKIND experiment and other utopias for the first time, he said he regarded it as a film about lost youth. I think the reverse is the case, because Edgar and Ula’s convictions back then correspond precisely with their stance today, even if a few illusions may have been lost along the way.
What especially moved me while making the film was encountering once again the actress who played the Kübelkind, Kristine de Loup. I had met Kristine at the end of the 1970s through her husband Florian Hopf, but after his death we had lost track of each other. When I visited her in the fall of 2017 in her house in Brittany, where she lives reclusively, she told me why KÜBELKIND had, and still has, such great personal significance for her. DER FILM VERLÄSST DAS KINO is dedicated to Kristine and Florian. (Robert Fischer)

Film beyond cinema

Very few of the film people who are currently trying to orient themselves between ‘young German film’ and ‘underground cinema’ have noticed a development on the horizon that is independent of both and has a chance to lead to fundamental, revolutionary changes in film. The perspectives now opening up for film are so fascinating (...) because the underground filmmaker’s mobility enables him to install his cinema almost anywhere. […] We have really learned one thing from the underground people: the astonishing idea that film does not depend on movie houses and television. But film’s liberation from the cinema and television is unfolding in a way that is equally distant from underground and feature films, in a completely new sphere of interests, where questions dominate that derive neither from the cinema nor from television nor from the New York groups. For example, can there be a film that is a real alternative to a good steak? Can there be a film that is an alternative to a date with a girlfriend? Can there be a film that I would watch for twenty hours, provided that I can determine for myself in what portions and at what times I consume this film? Can there be films that give me extensive answers to questions that move me, films that I acquire like books, food or a holiday?
A number of signs indicate that this new genre of film will emerge in the next few years. (...) The technical media exist, and all of us feel the desires. A market has developed on which absolutely nothing is offered. The contraband trade in 8-mm pornography is expanding all over the world, but here too, a pimp mentality is defrauding a market, rather than satisfying it.
Signs are increasing that the new market for film will emerge in the coming years. It is merely a question of a suitable technical form of distribution until films are extensively produced that answer the already existing demand, outside of the cinema and television. The richer cinema and television are in disappointments and fraud, the greater demand this market will have.
What I’m saying here may sound utopian, because so little factual evidence is recognisable. We are accustomed to rate facts higher than ideas and imaginings, even if they are not more real. The development has been prepared. Just as we can leave the studios with our cameras in the meantime, just as we can shoot in any arbitrary location with little effort, today it is no problem to screen films in any arbitrary place. We must not forget that this wouldn’t have been possible at all with the old filmmaking technology and that there were technical reasons for the cinema to be a ‘temple of the Muses’ (and equally for the film studio). Film is no longer bound to the cinema. (…)
If we imagine that, independently from the cinema’s programme and the television at home, we can screen films that are at our disposal like our books or records, the result is an inspiring flood of opportunities for making films. (…) The genre of the novel will finally find a correspondence in film, because the length of the films will no longer play any role, and the truly short film will be able to thrive, completely independently from the established cultural film.
I don’t feel indifferent at all about the forms this film outside of the cinema can take. There is an overwhelming abundance of possibilities that go far beyond what has been presaged in underground film. What is crucial about that is not only that one can make films without thinking about the cinema. It is possible that, in a few years, films will be exchanged and sold like records. Considering this development, the alternative cinema or television can cease being a problem. The audience will judge the bureaucratically ordered institutions in entirely the same way. The minor difference that television’s structure makes it ‘timelier and more responsible’ will be important only for a few people anymore. For the average audience, cinema and television will be relevant to the same world of experience.
But the independent film that, like a record or book, one can buy, exchange, pass on surreptitiously and consume like music and literature and that is more likely to take up the tradition of the book trade or of the department store than the tradition of the theatre or the restaurant industry, this independent film may even make use of television technology, without being reminiscent of television in the least. The independent film will be anything but poor; it need only recognise and develop its own methods. Imagine that you can buy a film like a book: What is not considered commercially feasible in cinema now becomes interesting. (…) What would one purchase privately? Perhaps a 500-minute film with a novel-like plot of truly epic dimensions, a genre that the cinema cannot give birth to. Nonfiction presentations lasting ten hours or three-minute films that serve sudden liberation like the popping of a champagne cork. Films that one consumes in suitable physiological portions, when one wants. One might watch these films again and again, because the countless details and the endless branching of the plot would not be boring the second time. Perspectives open up that even every true renewal of the feature film have not made possible for a long time. If film goes beyond the cinema, then this means that it leaves behind this corset in every regard.
It will go beyond the plot formula; it will go beyond the ninety- or 100-minute formula; it will go beyond the formula of the star cult and the set-and-costume fetish; it will bring with it completely different conditions in production investment and the market. (…)
But it could also be that film will not go beyond the cinema and that all of this is untrue.
(The above excerpts are taken from Edgar Reitz’s text “Film Beyond Cinema”, which was published in May 1968 in the German magazine “film”.)

Der Film verlässt das Kino: Vom Kübelkind-Experiment und anderen Utopien / Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias
Robert Fischer. Production company Fiction Factory Robert Fischer Filmproduktion (Munich, Germany). Written and directed by Robert Fischer. Director of photography Laura Ettel. Editing Robert Fischer. Sound Florian Brüning.

World sales Edgar Reitz Filmstiftung

Geschichten vom Kübelkind. Stories of the Dumpster Kid
Edgar Reitz. Production company Edgar Reitz Filmproduktion (Munich, Germany). Written and directed by Edgar Reitz, Ula Stöckl. Director of photography Edgar Reitz. Editing Jessy von Sternberg. Music Ekkehart Kühn. Sound Guido Reitz. With Kristine de Loup (Das Kübelkind), Bruno Bendel (Kreditfachmann), Alf Brustellin (d’Artagnan / ein guter Mensch), Ilse Brustellin (Schwiegermutter), Hans-Heinrich Brustellin (Schwiegervater / Graf Rochefort), Antje Ellermann (Hebamme), Heidewig Fankhänel (Frau Dr. Wohlfahrt), Peter Finkenstaedt (der junge Mönch), Jacques Freers (Lord Winter), Werner Herzog (Hurenmörder).

World sales Edgar Reitz Filmstiftung


Robert Fischer: 1999: Monsieur Truffaut Meets Mr. Hitchcock (39 min.). 2002: Fassbinder in Hollywood (57 min.). 2006: Dalton Trumbo: Rebel in Hollywood (59 min.), Ernst Lubitsch: Von der Schönhauser Allee nach Hollywood (110 min.). 2007: Displaced Person: Peter Lorre und sein Film „Der Verlorene“ (61 min.). 2009: Working with Max Ophuls: Lola Montes Revisited (70 min.). 2010: Von der Liebe und den Zwängen: Mutmassungen über Fassbinders „Ich will doch nur, dass ihr mich liebt“ (60 min.). 2011: Starting Out: The Making of Jerzy Skolimowski’s Deep End (75 min.), The Cinema and Its Double: Rainer Werner Fassbinder’s Despair Revisited (70 min.). 2012: Aldrich Over Munich: The Making of Twilight’s Last Gleaming (66 min.). 2013: Outlaw Brothers: The Making of The Long Riders (61 min.), Rumble on the Lot: Walter Hill’s Streets of Fire Revisited (80 min.). 2014: Swan Song: The Story of Billy Wilder’s Fedora (87 min.), Auf eigenen Schwingen: Die Visionen des Sir Hubert von Herkomer (97 min.). 2015: Last of the Independents: Don Siegel and the Making of Charley Varrick (72 min.), Return to Beethoven Street: Sam Fuller in Germany (105 min.), Les Mystères de Paris: „Out 1“ de Jacques Rivette revisité (110 min.). 2016: Cop Stories: The Making of Richard Fleischer’s The New Centurions (45 min.). 2017: Sucker Punch Blues: A Look Back on John Huston’s Fat City (55 min.). 2018: Der Film verlässt das Kino: Vom Kübelkind-Experiment und anderen Utopien / Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias.

Edgar Reitz: 1967: Mahlzeiten. 1969: Cardillac. 1971: Geschichten vom Kübelkind / Stories of the Dumpster Kid. 1973: Die Reise nach Wien. 1979: Der Schneider von Ulm. 1984: Heimat – eine Deutsche Chronik (11 parts). 1992: Die zweite Heimat – Chronik einer Jugend (13 parts). 2004: Heimat 3 – Chronik einer Zeitenwende (6 parts). 2013: Die andere Heimat.

Ula Stöckl: 1968: Neun Leben hat die Katze (86 min., Retrospektive 1977, Classics 2015). 1971: Geschichten vom Kübelkind / Stories of the Dumpster Kid. 1972: Das goldene Ding (90 min., Forum 1972, co-directed by Alf Brustellin, Nikos Perakis, Edgar Reitz). 1974: Ein ganz perfektes Ehepaar (90 min., Berlinale 1977). 1976: Erikas Leidenschaften (64 min., Forum 1977). 1984: Der Schlaf der Vernunft (82 min., Forum 1984), Jakobs Tauben (Forum 1984, 45 min.). 1991: Das alte Lied (82 min., Forum 1992). 2015: Die Widerständigen “also machen wir das weiter ...” (87 min., Panorama 2015, co-directed by Katrin Seybold).

Photo: © Edgar Reitz Filmstiftung

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