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Fusing Shakespeare‘s tragedy with the Verdi opera, Schroeter's Macbeth is a fascinating television experiment shot entirely in a studio with several electronic cameras. As Schroeter would recall, "I arranged the Verdi music for a quartet of violin, accordion, piano and oboe, but modeled the rhythms on Argentinian tangos and boleros. The actors sang with horrifying, shrill voices.... The use of video allowed me to produce extraordinary colors.... Of all my films, Macbeth was most unwelcome: Audiences don’t like their Shakespeare to be presented in this way, but I do not differentiate between kitsch and culture...". - MoMA
One of Werner Schroeter's most important and inventive works, this threadbare evocation of Jean Genet's notorious Querelle depicts the erotic adventures of two sailors through the world's seaports in the manner of a cut-rate silent movie.
An unusual story of a triangular relationship in Vienna. A woman shares an apartment with a man named Malina. The woman meets Ivan and falls under his spell. It will be her last great passion. Her feelings are so strong and all-encompassing that Ivan can neither understand nor return them.
Schroeter's virtuosic staging of the Oscar Wilde tragedy is a complex montage of image and sound, filmed on the grand steps of Baalbeck, the ancient Roman temple in Lebanon, and interweaving Lebanese and German folk songs with the music of Verdi, Wagner, Strauss, Mozart, Bellini, and Donizetti. Elfi Mikesch, the cinematographer of Schroeter’s later films, designed the film’s sumptuous costumes. A contemporary critic for Le Monde wrote admiringly of Schroeter’s depiction of "the deadly struggle between dark Christian morality and luminous paganism.“
Werner Schroeter's rhapsody of excess leaps from 1949 Cuba to contemporary France to points in between, while its feverishly shifting visual style evokes and parodies everything from kitschy Mexican telenovelas to silent French art films.
With the ascetic grandeur of Carl Th. Dreyer’s The Passion of Joan of Arc, Schroeter evokes the visions of Saint Joan, partly through unused footage of Darling and Caven pantomiming in his 1972 film The Death of Maria Malibran. - MoMA
A woman experiences psychic disintegration and ends up in a psychiatric hospital.
Aggression, Schroeter’s first 16mm film, is the fictive portrait of a woman who is oppressed by her (unseen) boyfriend.
"Of all the female interpreters I know, Maria Callas was the one who, in her expressive power, could let time stand so long until all fear disappeared, including that of death itself, and reached a state similar to what should be called happiness has been. Just as a blind person develops his sense of hearing and touch better than a sighted person, Maria Callas was proof that one could work out of oneself without following stupid rules in a restricted system - she was too short-sighted to ever take the baton from the stage to be able to see the conductor - can turn weaknesses into one's own creativity without looking." - Werner Schroeter
In a dark and spare theatrical space, four characters use gesture, language, and movement to explore themes of desire and mortality.