Der Dokumentarfilm besteht hauptsächlich aus Interviews, die Florian Hopf 1977 mit Rainer Werner Fassbinder gedreht hat. Die Vertrautheit, die sich zwischen Hopf und Fassbinder über viele Jahre hin entwickelt hatte, ist in den mit großer Offenheit geführten Interviews spürbar.

Signs of Vigorous Life: New German Cinema features interview footage with Werner Herzog, Wim Wenders, Volker Schlondorff, and Rainer Werner Fassbinder. The documentary takes you through the origins of German film during its post war failures to the birth of the New German Cinema and its founding members.

A documentary on the shooting of Kamikaze 1989 and Querelle, it contains an interview with Fassbinder prior to his death.

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.

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

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

"The Fassbinder Story" narrates the fast and furious life of the German writer-producer-director and, above all, artist Rainer Werner Fassbinder, a life which had all the dynamics of a Hollywood blockbuster. A man who paid the price for a career shaped by ceaseless work and world fame. After his death in 1982, aged only 37, Fassbinder came to leave a total of 44 self-directed films, including two multi-part TV series. The chronological connection between his films, whenever showing autobiographical references to his life, sketches the madness of his being, uniting it with rare footage from film sets and previously undisclosed video and audio recordings into one composite whole.

An insightful examination on the life and work of New German Cinema master Rainer Werner Fassbinder, "I Don't Just Want You to Love Me" presents friends, actors and collaborators of his many films talking about his work, creativity, behavior, personal life and the magic behind his several films made non-stop in a period of 15 years.

Three sequences are linked together in this short film by Straub; the first sequence is a long tracking shot from a car of prostitutes plying their trade on the night-time streets of Germany; the second is a staged play, cut down to 10 minutes by Straub and photographed in a single take; the final sequence covers the marriage of James and Lilith, and Lilith's subsequent execution of her pimp, played by Rainer Werner Fassbinder.

1982 film by Rainer Werner Fassbinder

1970年是法斯賓達的電影人生中最多產的一年，單是劇情長片便拍了不下六部風格、類型、題材等皆各異的作品，而黑色喜劇《小心聖妓》便是其一。但對影迷來說，也許更重要的是此片乃法斯賓達自認最好的個人作品。雖然影片的名字像極與妓女有關，不過故事內容卻是另一回事。它主要講述一群苦候拍攝電影的人，因導演失蹤、器材不見，唯有在冠冕堂皇的西班牙酒店內有如行屍走肉四處飄浮，直至導演出現，大家才抖擻精神。怎料導演忙於拍攝之餘，更要落力應付各方滋事份子，令他疲於奔命，最後他還要面對巨大的財政壓力，而各位演員也開始鼓譟起來．．．此片無疑可說是導演的個人寫照，透過自嘲、黑色幽默等手法諷刺片場如地獄，不過更值得注意的是此片的混雜風格，既承接他早期的劇場化敘事，亦開其日後的通俗劇形式，可說是法斯賓達電影創作上的重要過渡作品。
1970 was the most prolific year for Fassbinder, he made six features of different style, genre and theme, and Beware of a Holy Whore was the director's personal favourite. Despite its title the film has absolute nothing to do with prostitution. With the director and equipment missing, a group of actors and crew can do nothing but to wait aimlessly inside a posh Spanish hotel. The director finally appears, but he is soon entangled with the trouble makers on the set and pressure from his financers; not before long, the actors are starting to get riotous…A black comedy and a satire of the movie set being "hell", a self-mockery on the perils of being a director. An important work where Fassbinder was making a transition from his early Brechtian style to more conventional narrative.

Source: 世界電影經典回顧 2006 節目二 - 德國電影新浪潮

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. The film also contains current interviews with Irm Hermann and Harry Baer, both of whom were close to Fassbinder. Beginning with Fassbinder’s extraordinary childhood in traumatised post-war Germany, the film, which is divided into seven chapters, provides an illuminating, intimate and moving tribute that bears witness to the enduring relevance of both the man and his work. Today in particular his oeuvre continues to provoke us to engage with controversy and tension – be it aesthetical, creative or critical. berlianle 2015

Fox, a former circus performer, wins the lottery of DM 500,000 and can now have the life and things that he has always wanted. While he wants to climb up the social ladder, it isn't without turmoil, and being torn between his old working class roots, and the shiny new facade of middle class consciousness.

During the 1982 Cannes Film Festival, Wenders asks a number of global film directors to, one at a time, go into a hotel room, turn on the camera and answer a simple question: "What is the future of cinema?"

1969 film by Rainer Werner Fassbinder