Burning Palace

Five people who are in a show at a bar, who live in this hotel and have very different relationships with one another. After the show – they are already sleeping – they are woken by Pan for the night and therefore wake up to the destruction that is held within them.

ID

Mimi Minus on the escalator of horror. Mara Mattuschka´s alter ego once again sets off on a tour de force of physical renunciation. First she goes into a tumble when the ground is pulled out from under her feet. Caught in a weightless space, she undergoes a strange metamorphosis. Mimi´s body is subjected to unnatural forces and gradually deforms, her skin ruptures and - as if the human shell were only an intermediate stage in the process of evolution - is shed like a cocoon; a reptilian monster emerges.

Beauty and the Beast

Autobiographical notes about bringing up children. A birth, the bite in the umbilical cord, a baby between sheets of music. Mimi fiddles educationally on a violin without strings, offers her breast and enjoys the little king with an improvised hysterical performance, and suddenly starts with Dadaistic oracles, letting the blead dance and carrying the child out into big wide world.

The Sinking of Titania

Titania, a clumsy adolescent, sits in the tub, on the top of the plug-hole, the entrance to a murky world full of filth, bugs and hazards, which connects her to all the ass-holes in the world. Elements of this world now hover like Ghosts on the surrounding tiles, while Mimi Minus ruminates on the impossibility of love.

S.O.S. Extraterrestria

The world as a plaything for a giantess from outer space. A Godzilla-imitation on the way to herself: the giantess from outer space in the streets of a big city, fooling around, producing destruction, copulating with the Eiffel Tower. An orchestra of big feelings, the melodrama, defamed in infantile sounds and absurd costume, in make-up-persiflage and grotesque body-art-performances.

Pascal - Gödel

Mimi Minus spreads out a paper with a chequered pattern and drinks repeatedly from a bottle containing and dark liquid which is never emptied. The chequered paper is successively covered in chaotic painting until, finally, it is rolled out of the way. Underneath is a fresh chequered paper. With very intensive cutting, the film is composed of infinitely varied primary contradictions - black versus white, circle versus square, order versus chaos.