Ila von Hasperg

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.

Living together in an isolated house, three women go to murderous lengths to keep strangers out of their private retreat.

When Peter Huber the proprietor of a Bavarian corner newsstand, wins a free trip to New York City in a magazine contest, he is overjoyed. Filled with romantic ideas from the movies, his actual encounter with the gritty realities of the Big Apple are sobering. Nonetheless, he is in for the adventure of his life. First, he meets Karola Faber, the German wife of a U.S. G.I. who has found life in the States not all it's cracked up to be: she has left her husband and makes her living through prostitution. Peter and Karola visit the local German emigré community's Oktoberfest, and win the festival's King and Queen crown. Their prize is a cow, which accompanies them on their further journeys in New York City.

A small carnival is in dire financial straits. Their show is attracting fewer and fewer paying customers, as their "attractions" are ageing, out of shape and beset by internal feuds and bickering. One day a beautiful young woman shows up and suggests a way of attracting customers: put on a strip show, with her as the main attraction. Her act attracts customers in droves, but it turns out that the girl has her own agenda, and it isn't to help out the carnival.

When Hitler watches Marlene Dietrich in a movie, he falls in love with her. He persuades her to come back to Germany to be with him, but upon her arrival she constantly insults and provokes him until he eventually, on her command, bites the carpet to bits.

Beautiful, detached, laconic, consumptive Lily Brest is a streetwalker with few clients. She loves her idle boyfriend Raoul who gambles away what little she earns. The town's power broker, called the rich Jew, discovers she is a good listener, so she's soon busy. Raoul imagines grotesque sex scenes between Lily and the Jew; he leaves her for a man. Her parents, a bitter Fascist who is a cabaret singer in drag and her wheelchair-bound mother, offer no refuge. Even though all have a philosophical bent, the other whores reject Lily because she tolerates everyone, including men. She tires of her lonely life and looks for a way out. Even that act serves the local corrupt powers.

A sartorially resplendent woman of few words arrives in Berlin with plans to live out the rest of her days as a drunkard.