Peter von Kant, a successful, famous director, lives with his assistant Karl, whom he likes to mistreat and humiliate. Through the great actress Sidonie, he meets and falls in love with Amir, a handsome young man of modest means. He offers to share his apartment and help Amir break into the world of cinema. Several months later, Amir becomes a star. But as soon as he acquires fame, he breaks up with Peter, leaving him alone to face himself.

The documentary, which consists entirely of archive material, shows post-war history in a surprising, unusual and touching way.

BBC 4 documentary about 1970s German progressive music.

A film portrait of the influential Bavarian actor, director and screenwriter who publicly confessed his homosexuality.

Documentary film that deals with four main thematic areas in Fassbinder’s films: The exploitation of love, the human tendency for mutual repression, the resulting loneliness, and powerlessness that leads to an explosion of violence. Fassbinder’s genius lay in his logical and uncompromising combination of these various themes into a harmonious unity, while at the same time creating a very personal self-portrait of himself. All Fassbinder’s films are self-portraits in disguise. His greatness was one of emphasizing the negative, the darker aspects of things. Through his radical use of rigorous subjectivity he was able to be objective, whether in Fear Eats the Soul, The Marriage of Maria Braun or Effi Briest.

Rainer Werner Fassbinder was probably Germany’s most significant post-war director. His swift and dramatic demise at the early age of 37 in 1982 left behind a vacuum in European filmmaking that has yet to be filled, as well as a body of unique, multi-layered and multifarious work of astonishing consistency and rigour. From 1969 onwards, Danish director and film historian Christian Braad Thomsen maintained a close yet respectfully distanced friendship with Fassbinder. Fassbinder – Lieben ohne zu fordern is based on his personal memories as well as a series of conversations and interviews he held with Fassbinder and his mother Lilo in the 1970s.

Romi (Gabriela Mícová), a prostitute, is anything but successful at her job: she is of far too gentle a nature for her clients. The more obstinately she is pushed to the streets by her pimp Franz (Stanislav Majer), the closer she is to a complete breakdown. One day Romi is addressed by a property speculator referring to himself as a "wealthy Jew" (Martin Finger). He does not demand any sexual services of her. He satisfies himself with Romi telling him stories, for which he lavishly rewards her. However, no one shares the sudden happiness with Romi. Her work-mates and current clients turn their backs on her, as does Franz, with whom Romi is in love. The whole story takes place in the setting of a dilapidated city, during the clean-up of which politicians openly split their profit with speculators and lobbyists, all under protection from the police.

Though he never actually worked in Hollywood, Rainer Werner Fassbinder, who died in 1982 at the age of 36, was influenced greatly by Amercian studio films of the 1950s and the convention of melodrama (the link most often mentioned is Douglas Sirk).

An essay film in which filmmaker Rosa von Praunheim interviews "the willing victims of Rainer Werner Fassbinder."

Documentary on the importance and the role of women in Rainer Werner Fassbinder's films.

An eccentric homage to the Rainer Werner Fassbinder days of German filmmaking.

A movie buff desperately wants to enter a theater to see a Fassbinder film but the doorman will not let him go because he has no ticket. The film is the confrontation between the two that ends with happy end.

A documentary about the life and work of director Rainer Werner Fassbinder.

A bearded director named EVA, a fictive Rainer Werner Fassbinder, lives in a large house with his cast and crew as he films Dumas' Lady of the Camellias. His accountant informs him he has many unpaid bills and little cash on hand. EVA throws a fit and fires him. He then proceeds to play one person off against another, dismiss with cruelty his recent lover Ali, sleep openly with his leading lady Gudrun, and make a direct and public play for his leading man, Walter. He's mercurial, dictatorial, and manic. Will he finish the film, having drawn great performances from his actors through his manipulations, or will his antics set events in motion that spin out of his control?

This portrait, drawn by Wolf Gremm, shows Rainer Werner Fassbinder both as an actor - taking the leading role in the film "KAMIKAZE 1989", also directed by Wolf Gremm - and as a director working on "QUERELLE", his adaption of the work by Jean Genet.

In a totalitarian society of the future, in which the government controls all facets of the press, a homicide detective investigates a string of bombings, and finds out more than he bargained for.

About an alcoholic, cockroach-fearing tenant who has failed to pay her rent and the argument that ensues between her, her landlady, and another resident of the building.

Fassbinder reflects on the various stages of his career, discusses how his motives behind filmmaking evolved up to this point.

Theo, Marite, and Franz cannot make any money selling magazines door to door, so they try a little robbery.