1970 film by Hans Heinrich

1957 film by Heinz Paul

1954 film by Harald Reinl

1959 film by Eduard von Borsody

Ruth is the wife of well-heeled corsetry manufacturer Erich Halbfass. As business booms, Erich lives frivolously and their daughter Aglaia attends school. The bored middle-class wife begins a secret affair with Aglaia's drawing teacher, setting murder and manslaughter in motion.

1971 film by Reinhard Hauff

deutscher Spielfilm

Corinna witnesses how three guys chase and shoot a man in front of her lonesome house. As only witness, they force her to come with them and care for the guy's wound. But she manages to flee shortly after and takes Blondi to a doctor. He tells her his story, how he used to smuggle drugs, but one day fled with a suitcase full of money. Corinna inexplicably falls in love with him and decides to accompany him on his further flight. But the villains are close behind them.

　　某控制论与未来科技研究所的跨时代项目斯莫莱克戎1号，是一种应用高端技术架设微缩世界的电子怪物。它可以针对社会，经济以及政治事件做出精确的预测。由于这个研究项目的创办人兼总监沃尔摩尔教授神秘死亡，所长任命斯蒂勒博士作为这个项目的继任负责人。不久斯蒂勒的同事们发现新总监也开始状若疯狂。然而，随着老友--研究所安全主管劳兹神秘消失事件的不断深入，斯蒂勒渐渐分不清究竟是自己病了，还是身边的世界病了.... 　　《世界旦夕之间》是1973年法斯宾德为电视台制作的两部式科幻电影，改编自伽洛耶出版于1964年的长篇小说《三重模拟》（Simulacron-3），本片后来被好莱坞翻拍成《异次元骇客》（The Thirteenth Floor），并深刻启发了后来的同题材系列电影《黑客帝国》。

At the Paris Theater, an uncommonly engrossing and wise new German movie, "A Free Woman," records the losing battle a divorced woman in her thirties fights in Munich to attain belated self-fulfillment. The die is cast in a briskly impersonal society geared to male dominance and early training for career women. This attractive, capable young woman, needing love and encouragement, determinedly sidesteps her former slot of housewife, studies voice and dance, takes on subordinate jobs and painfully maneuvers with her former husband (a cold fish who shrewdly remarries) for child custody. All this is quietly and beautifully projected by an unobtrusive camera and stunningly personified by the feeling, low-key performance of Margarethe von Trotta in the central role. The blond star also happens to be the wife of the gifted director, Volker Schlondorff, as well as his co-screen writer. They and the other performers and contributors have forged a fine, thoughtful and stimulating film that observantly mirrors a human condition, the traditional subordination of women with truthful, biting irony. It would be hard to find a more persuasive and appealing proponent of feminism than Mrs. Schlondorff.

Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’ The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.

Hans is a street fruit peddler and born loser. His choice of career upsets his bourgeois family, causing him to turn to drinking and violence. After recovering from a debilitating heart attack, his business finally begins to take off. However, the more he becomes a credit to his family, the more depressed he becomes.