Drama of four friends who spend time together in the country when one of them meets a man who claims to be Jesus Christ who wants to share the love secret of the universe with her and so he impregnates her, dies in her bed, and then totally disappears, leaving the friends unsure if it all happened

Hans Hummel abandons a South Sea paradise and returns to his old homeland to trace his deceased father's path in life. His father has not only bequeathed him a large house and valuable documents, but also a type of treasure map in the form of a computer with the corresponding program. While he is involved in this treasure hunt game, he meets up with seven women - the family in the neighbouring house, who support him both in a business as well as in a personal sense. But instead of delighting in his new found wealth, he trades money, gold and millions for happiness - just like in a fairy tale.

In a future world devoid of men, three young women order two men to come to them and ask them which of them they would prefer.

Mary and Marquard are painters and lovers, with a common life. Once Marquard gets a prize of a considerable sum of money, his artistic creativity wanes. While Mary works in a series of paintings, Marquard visits his friend Gregor, a horse breeder and philosopher, sleeps with Angie and visits repeatedly her daughter Lucia. Marquard and Lucia, who have begun a tender and compassionate father-daughter relationship, spend two days in a seaside hotel, deciding not to speak in words. The feelings and communication emerge from a very special way. Mary, who does not know the whereabouts and the reason of the absence of Marquard, realizes it by herself: their love is over. Then, she abruptly interrupts her work so far and starts a new painting entitled "The visible and invisible."

2001 film by Rudolf Thome

A man and two women are trying their luck in the red room in the countryside. The older (but therefore not wiser) Fred, freshly divorced as a kisser who still desires his ex, meets the self-confident Lucy, who feels called to explore the soul of men in her novels. She lives with her intimate friend Sibil in a Vorpommern house in the countryside. Fred decides to move from Berlin to the two women and try a ménage-à-trois. They get to know each other and themselves.

A beautiful woman, Supergirl Francesca Farnese, appears out of nowhere on a Bavarian highway. She wears only an orange jumpsuit and wants to go to Washington. Playboy Charly first takes her to Lake Starnberg, where she meets best-selling author Evers. He immediately leaves his wife and travels with Francesca to Spain, where he negotiates a project with the American film producer Polonsky. No one remains unimpressed by the mysterious beauty. Supergirl remains elusive— she quickly disappears again, leaving behind a warning to the inhabitants of Earth that an attack from outer space is imminent...

Munich in the late Sixties must have been the coolest place on earth. At least when you look at some of the movies that were made around that time. "Detektive" is Rudolf Thome's feature debut, one year before he shot "Rote Sonne" (Red Sun) Link , and naturally it was a movie about girls and guns (and two cool dudes, proto slackers). The story is almost forgettable, it's all about the style. And, of course, Uschi Obermaier, the star of "Rote Sonne", whom Thome had discovered for "Detektive". (Consequently, for most of the time, Uschi runs around in her undies) The dialogues are hilarious, super deadpan, the crime plot is ridiculous, the cinemathography (b/w and scope) beautiful. Heavily indebted to the French Novelle Vague and Hollywood's classic gangster films, "Detektive" is miles away from the German New Wave around Wenders, Kluge and Fassbinder. That's what makes this little flic, shot with friends on weekends (and between tours through the bars in the Schwabing district), so special. In the lead, the great Marquard Bohm, something like the German Belmondo (a face like no other) and Uli Lommel, who went on to direct the German serial killer film "Die Zärtlichkeit der Wölfe" and numerous Hollywood b movies. Nuff said. Enjoy this very special gem!

Computer operator Faber works on securing computers for big companies and banks. His private life is rather dull until he meets a strange women, Juliet and falls in love. Her friend convinces Faber to exploit his knowledge to rob a bank.

1998 film directed by Rudolf Thome

爱德华是个电影制作人，他的未婚妻夏洛特是个演员，他们正准备将夏洛特的第一本书拍成电影，因电影脚本的需要，爱德华邀请了好友奥托到家来帮忙写脚本。夏洛特学古典吉他的侄女奥蒂丽，因为在学校不开心，被夏洛特邀请到这度假。四个人电影拍摄过程中发生错综复杂的感情纠葛。（豆瓣电影字幕翻译2.0小组）

《红日》，听上去好像国产片的名，但却是一部经典的西德CULT片，拍摄于1970年，导演鲁道夫·托姆（Rudolf Thome），而出演女一号Peggy的正是这位现实中就很CRAZY的乌丝琪·奥伯迈尔。 身无分文的托马斯刚从汉堡来到慕尼黑，在一个地下酒吧里遇见美丽的服务生Peggy，两人情投意合，托马斯暂住在Peggy家里。Peggy和另外三个女孩Sylvie，Isolde，Christine合租一间房子，而她们并不只是普通的住客这么简单，她们在房间里秘密制作炸弹，枪支，并且谋杀。原来Sylvie曾经的男友背叛了她，她把他杀死后其他几个女人居然都说Sylvie做得对，然后Peggy提议大家玩一个死亡游戏，规则是每个人出去找陌生人做自己的男友，但不能和他在一起超过五天时间，如果五天后他们之间的关系依然存在就表示一方已经爱上了另一方，那么代价就是女方必须亲手杀死男方！结果不少男人都死在了她们枪下。 四人中的Isolde渐渐无法忍受这样的疯狂，因为她不愿向自己的男友开枪，而同在屋檐下的托马斯也觉察到了无形的危险。终于一天晚上，Isolde趁三人外出时向托马斯和盘托出一切，托马斯陷入两难困境，一方面他自信Peggy已经爱上了他而不会向他下手，另一方面他又要想办法防止Sylvie和 Christine的暗害。然而事情却远没有他想象的那样，冷血的Sylvie开枪打死了叛变的Isolde，而在他们初次相遇的依萨河边，Peggy最终选择了开枪，两人展开撕杀，托马斯开枪打死了Peggy，自己也负伤倒下，河的远处，一轮红日升起。。。 印在海报上的标签所说 - Frei, Wild, Cool und Todlich（Free, Wild, Cool and Deadly），自由+狂野+极端+酷！

1980 film by Rudolf Thome

2009 film by Rudolf Thome

德国电影《天堂》讲作曲家Adam六十岁生日的聚会。在梅克伦堡农场的天地之间，他经营着自己天堂般的生活，与树交谈，汲水浇园。年轻的第七任妻子和一对小儿女的陪伴之下，他感到一生行将走向终点，希望写一部关于过去、现在和未来的交响乐。在这秋日渐近的季节，他决定同自己最亲爱的人一起庆祝生日，留作晚年的纪念。把自己前后最重要的七个女人召集到一起，也许并不是个好主意，可是在田野里、在湖水和芦苇荡中、在和煦的秋风中，也许一切恩怨都算不得什么。他曾经走过很多地方，遇到很多人，但没人比这七个女人对他来说更为重要。他曾和她们分享过爱、友谊和其他美好与艰辛。如今，他离她们近在咫尺又远在天涯，重逢仿佛是一次重演，怨恨化为和解，未来托与不可知。这是一部关于流逝和谅解的影片，一部相当自恋和妄想的影片，可是假如只是拿来感受，果真美到极至。生也有涯，当我们六十多岁的时候，也许只是碌碌之辈，在庞然大城中如蝼蚁般生活，既无闲暇，也无情绪去对自己的一生作平静的回顾。电影似乎是普通人生的安慰，无论对于谁，都是蛋糕中最好吃的一块，做蛋糕的麻烦和饭后恼人的收拾整理都被切除。可是，一生走过来，目光敏锐又怀有善意的人，总会有很多难以忘怀的人、事、物，假如真的把他们纠合到一起，真不知会是何种情形。因而，这部平和、单调的影片，在我看来却是一部充满幻想和不可能情形的故事，其不可能的程度，甚至要高于变种人和外星生物的故事。电影常常带人进入一种境况，并不讲为什么，却看人们如何表现和应对，如同《土拨鼠日》中的时间停止。可是生活何尝不是如此，假设我们生在宋代或者玛雅王国，又将如何是好？无论何时何地，总有那么多美好的事情做不到、不可能，电影把它们活生生的制造出来，也就成了真实。至少，我宁愿相信这样的故事，它们让人心安。 青年，中年，老年，在人欲和伦理的双重制约下，慢慢展开一段故事。身为普通人的我们可以算笔账，看看自己在这社会中的位置，把自己生活中的大事小情都写在纸上，把自己常去的地方、常坐的车、常想的事情列个表，常看的电影、常听的歌、常见的人归归类，我们会发现生活有多么无聊。所谓的艺术家们，尝试打破这种天经地义般的禁锢，试图不断过不一样的生活，却往往陷入矫情。人只有在所知更趋广博、所思更趋深厚的时候，才能部分的摆脱造物的安排，部分的享有自由。所谓的自由，其实就是选择的可能性。当我们的思维受限于一时一地，就难免做个时代的匹夫匹妇，一生戴着镣铐跳舞。只有当这种可能趋于无穷大，人才能真正的活得像个人样。如今，我们觉得自己是异于动物了，可是欲望和贪心还在燃烧着有限的精力，甚至成为社会前进的能量。我猜想，也许所有的精神病症，都是人在走向真正的人的路上的过渡性表现，而真正的进化，是以欲望的革除为终点。神的境界不是上天入地，而是不以物喜，不以己悲。为了达到那个境界，我们需要忍受欲望的煎熬，或者也中途享受着它。这里面似乎有辩证法，但以我辈的智力上不能洞悉，所以想不明白也还释然。唯一不能释怀的，就是同在这个地球上，为什么有那样的地方，人们可以生活的那么自在，有那么多的可能性，那么得体，而风景也有如天堂。无论是出于何种阶层，人们眼下都争着出国定居，目的固然各不相同，对美好的向往是一样的。我辈精力有限，财力空虚，能坐在家里上网看看电影读读书，沉溺在别人和自己绘制的美好世界里，就觉得生活已无奢求，或者后半生不存在亦无不可。奈何时光飞逝，每个人都要从青年走向老年，如同主人公亚当所说：“十四岁的时候我在书本上看到人生自四十岁始的话，感到非常不解；如今我六十岁了，再不那么想了。”在影片的末尾，画外音说： “买一座小房子、生一个儿子、种一棵树，亚当现在拥有一切”。人们在困局中一路走来，不管是脆弱的还是坚强的，不管是细腻的还是粗糙的，都不能不思考些问题，产生倦意，或者重新振作，得到很多，体会很多，但最后什么也不会带走。所以还是密斯说得对：“少就是多”。