1977年，一个商人被绑架后又被谋杀，杀他的是左翼的称为RAF的恐怖分子Armee Fraktion（红色帮派），他们绑架商人是为了试图以交换他们被抓的领导人。当诱拐的努力和一次劫持飞机相继努力失败后，RAF的3位非常杰出的领导人，安德烈亚斯巴德，古德兰·恩斯林和吉恩·卡尔泪谱，全部在监狱自杀。这3人实际上是被政府授命谋杀的。

克鲁格与卡文的第二次合作是一次美学混搭。在首次合作的影片《快乐哀叹》中，这两位卓越的导演使用了他们档案中的材料，而《奥菲亚》则有了新的内容，尽管是古典的来源。奥尔菲斯和尤里迪斯的预兆和结局都发生了变化：在卡文和克鲁格那里，奥尔菲斯下到冥界，不仅要解放她的尤里迪科，还要解放整个灭绝的人类。在克鲁格的绿幕工作室和大都市马尼拉之间，把一切都在桌上摆放：里尔克和阿多诺，柴可夫斯基和摇滚，猛犸象和不朽。

The last films for cinema by Alexander Kluge. Both tell about a dozen stories which complement one another by creating a context. The Blind Director: A young doctor feels that she is redundant. People hurry around. A family sits in front of the computer as if it were a fire in the hearth. A kindergarten teacher is supposed to turn a child over to its legal guardians. The blind director. The present becomes inflammed. Without prior events, the future and particularly a sense of the possible, there is no reality.

IMDB简介：
The clownish security chief of a West German business is obsessed with protecting his factory from fancied and real breaches, especially from groups such as The Red Army Faction. Ferdinand's paranoia and methods can't be contained by his company. The sympathetically-drawn Ferdinand's ludicrous actions recall those of the cynical, disastrous axis between fascism and big business in 1930's Europe. Highly controversial, biting satire of the rise of private security, from Alexander Kluge, the theoretical father of the New German Cinema, set during the mid-1970's when the left-wing underground and powerful corporations dragged a prosperous, liberal West Germany in separate directions. 3 years later, Rainer Werner Fassbinder took an even more controversial approach to similar issues in his powerful Dritte Generation, Die (1979). Written by David Stevens

老艺人曼弗雷德·派克特为了改变马戏团的处境建议经理加一个大象表演的节目，可他自己在表演空中飞人时，失足摔断了脖子，轮到他的女尔莱妮接棒用父亲的思想进一步改编马戏团的节目。对她来说这无疑是一种考验，她开始制订改革马戏团的计划，但在经济现实面前低头屈服，把马戏改造成电视上的常备节目。此时，莱妮的好友去世，她继承了好友的财产，决定买下旧的冬季马戏团表演场所，与男友一起重建马戏团，可是这一切都成为徒劳。

德国新电影运动的开山作。犹太人阿妮塔的家庭受迫害，只身一人逃到联邦德国，希望在新的地方能寻找到更好的生活。但现实却与她的想像格格不入。她因偷了同事毛衣而被判缓刑。为了生存，她不断变换工作，到处流浪，得不到真正的帮助和感情，所品尝到的只是人情冷落和生活屈辱。
昨日女孩的获奖情况 · · · · ·
1966年 威尼斯电影节 OCIC Award - Honorable Mention 亚历山大·克鲁格
1966年 威尼斯电影节(Special Jury Prize) 评委会奖 亚历山大·克鲁格
1967年 German Film Awards(Film Award in Gold) Outstanding Feature Film

一名妓女兼小偷同一名西德女间谍穿行于1974年的法兰克福。时值狂欢节。与此同时，警察正在暴力清赶强占空楼的学生。克鲁格：“电影名字‘危急时中道致死’取自我们当时在被强占空楼的地下室墙上的一处涂鸦。”

In the first century of the third millennium, a galactic civil war is raging between governments, industrial giants and space pirates. Run for your lives! The Big Mess features space captain Douglas, the pirate couple sterr, a space admiral and countless other characters trying to eke out a living in the cosmos. But whenever they get anywhere , they find they've been beaten to it by monopolist enterprises.
In Willi Tobler and the Decline of the 6th Fleet, Willi endeavours to survive in a world where annihilistic galactic battles rage, by taking a job at the centre of power. But it's wrong side that he takes in this civil war.

In the first century of the third millennium, a galactic civil war is raging between governments, industrial giants and space pirates. Run for your lives! The Big Mess features space captain Douglas, the pirate couple sterr, a space admiral and countless other characters trying to eke out a living in the cosmos. But whenever they get anywhere , they find they've been beaten to it by monopolist enterprises.
In Willi Tobler and the Decline of the 6th Fleet, Willi endeavours to survive in a world where annihilistic galactic battles rage, by taking a job at the centre of power. But it's wrong side that he takes in this civil war.

Miscellaneous News are on the last page of the newspapers. With little oversight from editorial offices but with great emotional fuel.

什么是革命的？马克思和恩格斯的著作中都使用革命的比喻为“历史的火车头”。 ，那么，革命的进步的旗手，一个突击手，一个领跑者？

A mini-sequel to German director Alexander Kluge's 1968 Golden Lion winner Artists Under the Big Top: Perplexed, The Indomitable Leni Peickert continues the slice-of-life tale of down-on-her-luck Peickert (Hannelore Hoger), who in that earlier film (many will remember) made the mistake of investing in a "socially relevant" circus that failed to draw crowds - and quickly found herself in financial hot water. In this particular outing, she begins by working on television, then gets fired for smuggling an explicit, uncensored film - and promptly returns to the circus, while remaining footloose and unsettled. Intriguingly, this film does not represent a sequel to Big Top per se, but actually works in material that Kluge originally intended for that earlier outing.

This movie was intense and funny in its analysis of a restless gifted person. She was an abortionist. The very bizarre close examination of the work she did includes a jaw dropping opening that makes it appear that the film was shot during the events as they actually happened. She is keeping her family together but then loses interest and becomes a rabble rouser for workers in a chemistry plant. She helps them keep their jobs when the threat of moving the plant to Portugal comes to light, but of course, gets her husband fired when they identify her as the agitator.
In the end she opens a stand at the plant selling sausages wrapped in union pamphlets... Very funny, even the abortion clinic segment where she converts it into a veterinary clinic after she coaxes a dog to break through the police tape for her. Great basic film-making!

The story of Gabi Teichert (played by Hannelore Hoger) who had already begun to dig around in search of the roots of German history in Germany in Autumn. In daily school life, at the party convention of the Social Democrats (SPD), on the Day of Penance and during Advent: She remains stalwart on her quest for a republic, for which the trouble is worth it.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema.
Alexander Kluge: The Power of Feeling
When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster.
The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public.
The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim.
I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

我的电影探索了如果地球毁灭，我们如何进入现在看似离我们仍然遥远的宇宙。这里面涉及光速传播、银河系中的生物、逃逸的可能性以及紧急出口。还有猫、狗和宇宙飞船驾驶员皮克斯，还有宇宙中的时间体验，这些都与我们的生活，和当代世界截然不同。