DC's

The blog of author Dennis Cooper

K-Holes, travellers, and the problems of representation *

* (restored)

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‘It was as though I’d somehow managed to tear through the fabric of reality and to step behind the scenes of the world. Everything moved in slow motion in an endless cycle. I remember being overwhelmed at the very first sight of seeing the universe endlessly revolving in upon itself, as it had done for eons, and as it would continue to do for eternity. I remember repeating a word over and over in my head. It was not an English word and to this day I don’t know how to write it or what language it is. I do however know what the word means. The word being spoken to me from the inner most depths of my soul was my name, not the name I have been given in this lifetime, but my eternal name, the name I have remembered at the point of all my previous deaths. The thought passed through my consciousness, ‘I am about to die… I know what’s going to happen now…this moment is about to be the moment of my death.’ I felt all the people in the room turn in slow motion to look at me, as though something profound was about to happen. Again there was a primordial word for it that I heard from someone in the room. ‘He’s about to go through his……(then the primordial word for death).’ Suddenly it was as though all the cells in my body turned to water and I quite literally felt myself collapse into the ground, back into the very universe from which I first sprung. I let out a cry, an inhuman scream from the very depths of my soul. It is a sound I never realised I could make, a sound that my friends told me later literally stopped every person in the club in their tracks and caused them to look over to where I had collapsed.’

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‘It seemed as if I traveled into a television, went through the bowels of the earth, and wound up in the darkest, most horrifying place I had ever seen. A rush of HORRIBLY disturbing thoughts fired through my brain such as: the extent of my own personal ‘sins’, deception, hate, giant teddy bears with demon faces raping children, Nazi imagery, sado-masochistic overtones, animals dying all around, weapons going off, sex with corpses, immeasurable carnage and gore, but most importantly, there seemed to be this message of a childlike innocence being horribly tainted and corrupted all around. I was surrounded by millions of mainacally laughing demons carrying sticks and singing nursery rhymes, that seemed to chase me through these dark alleys where around every corner was another dead end. There was one face that kept flashing through my mind that seemed very large and its features were constantly distorting themselves. This face glared at me and screamed, at such a volume that is not possible for any earthly speaker, no matter how powerful, to reach. At that moment in time I truly believed that hell now reigned on earth and that the world was going to end.’

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‘I have just flown past our dimension of time and space. I am flying forward in an erratic yet peaceful spiral direction, not only in my mind but my body as well. The speed is picking up, and I feel my mind communicating with my hands (who have remained in the first dimension with the rest of humanity). I have just flown through the second dimension, into the third, into the fourth. My speed has maxed out, far beyond the standards of terminal velocity, and I continue in the form of a particle through each successive dimension. I pass through the last gate – the end of the line. I am in Dimension 11 and this seems to have been my destination all along. I come to realization that only a few entities are ever allowed this deep, and I must not take my presence here for granted. I am floating in void, many shapes and scenes unfolding in front of me – all of them alien, none realistic in regards to the physics and chemical make-up of the known universe. Then, something happens. The 11th Dimension has imploded onto itself. I watch every other entity within this realm begin to connect to one another, to become one. They are acting in this manner at a very fast rate. With no delay or transition, I become one. I am the singularity. All of us entities have finished connecting with each other and begin to contract into a single point in reality [or, non-reality]. We surpass the form of a point and become…’

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‘The ceiling began to shimmer. Strange patterns began to manifest themselves. The patterns seen were like none other I had ever encountered, and I consider myself a fairly seasoned traveler. They seemed to have deep purple and blue shades to them, and they were just spinning bars. Music began to play. It wasn’t from a stereo, it was from my head. I could decide a song, and it played. The Rolling Stones “Paint it Black” began to play in my head. I am not sure why I chose this song, but it began to play and it sounded amazing. More bizarre images began to appear. Numerous fractals were visible, but even more interesting were the non-fractal images. I saw an image of a house with little elves working on it. They were all singing a song, and I knew all the words. Then two bars appeared. They looked like long chrome bars. The began to spin and they burst into blue flames. A voice in my head was chanting “blue flame, blue flame.” I decided to try to change this, and I thought “red flame.” Instantly the colors changed. I was interacting with the images I saw. Then, to see what would happen, I thought “kaleidoscope.” The flaming bars vanished and my whole visuals field was filled with amazing colorful patterning. I was watching a mental television that was on my ceiling. At this point I rolled over and looked at the time. 10 minutes had elapsed. I then closed my eyes, and I disappeared. Everything about me was gone. I couldn’t even think to remember my name. The visions faded, as well as the room. The room was no longer recognizable. I completely lost all sense of self and body. This is where my memories end.’

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‘I had what we call a ‘mind-explosion.’ It had started with me just thinking about the number 23. I like to think very philosophically and was pondering the purpose of this number. I quickly came to the conclusion that the number was almost like life’s personal metaphor to make us realize how connected we are. After this realization the mind-explosion happened. I was quickly and constantly able to make connections between everything and anything. Colors, sounds, animals, words, buildings, races and species all blended in to one concise object and thought. I was literally holding the entire universe in my conscious. My mind snapped back. 23 became God. The absolution of the complete oneness of the universe. I snapped back again and thought “how can a number be a God?” Then I had a breakthrough that I have not been able to leave behind since. This is the night that I finally realized what Zen thought is truly about. The complete opening of the door that lead me to the paradoxical oneness of it all. Everything pieced together, anything anyone has ever said, written, drawn, done, was a representation of the whole because that’s what we are. We try to separate, categorize, and ostracize things but in truth we are all just one piece and that piece is existence. And thus continues the paradoxical nature of the world.’

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‘In my head, my ego felt as though it was being dissolved and I remember very quickly my body sunk down into the bed going pretty deep, as I was going down I caught a glimpse of my room it was bright neon blue and there were very detailed and intricate geometric patterns flowing and swarming throughout the air. All sensory perception disappeared, in what must have only been seconds after I had dropped the syringe. The drug now forcefully turned off everything that was “me”, my entire consciousness shut down. From there it rebooted my consciousness, but when it booted back up it wasn’t “me”, it was an empty shell of a consciousness, a blank ego. It was like the drug was reformatting my brain for a new person. One by one traits, qualities, and memories of another ego were being uploaded into the empty shell that my brain was running. After awhile enough of this information had been uploaded to constitute a person. I still didn’t know exactly who I was or even what I was. I started piecing together the information that had already been uploaded and I started making connections. Apparently the other ego that had been being installed was actually myself. All I could make sense of at this point was that I was just some kid who does a lot of drugs. The drug had seemed to defragmentize my ego much like a computer would defrag itself. I felt like “I” ran much better and more efficiently than I used too.’

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‘I first remember being in the stretcher. The thing is, while I was in it, I didn’t have a body to see, as if I was just a set of eyeballs. It started screeching me around the hospital, at more than two million miles an heartbeat. My stretcher was anchored to the floor, but years and years of life and the people in the hospital went by. Now you would think I wouldn’t even have the time to make out there face in the tiny amount of time that I saw them, but for every single face, there whole lives broke down in front of me, and I would see their whole lives pass before me. And may I remind you that billions upon billions of faces passed by in fractions of seconds. I would be watching the people (in my floating set of eyeballs, out of body state) pass by, and the breakdown would happen, and in some weird transfer, I would be sitting in a hospital bed. I was tripping so hard that once I fell into peoples lives, I genuinely believed I was whoever persons life I took over at the time. I lived the life of an woman who went to the hospital and was diagnosed with breast cancer. Then I was Richard, who started getting bumps on his nut sac. I was reading The Children of Men by P.D. James when the doctor came in and diagnosed me with AIDS. Suddenly I was back were I was in phase one, being the eyeballs on the stretcher. I started falling out of life itself, while I was still in the process of falling out of life itself. It all started to climax worse and worse and worse. I would fall out of life itself going a billion miles an hour while they alien sounding doctors were trying to talk to me. Then all the sudden one of the doctors got straight in my face, grabbed me by the shoulders and said “You’re going to die”. My vision went black.’

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‘My ‘trip’ began as soon as the streetcar started to move. My field of vision began to narrow and unfocus, and soon I was not aware of any of my senses at all. I soon realized that anything and everything I did had no meaning or importance. The essence of what I now was now perceived as liquid, a drop moving throughout the universe. I soon entered into a sort of waiting room, where I was presented with a mass of spherical liquid which represented the collection of individual ‘drops’, one of which was me, watching it from outside. I realized the truth – that all individuals sprung from this mass of liquid as drops, but that the drops themselves had no individual identity UNTIL they had been individual drops for some time. In other words, if I were to re-enter this sphere my identity would be lost. I briefly wondered if my identity would be absorbed into this mass, but realized that in fact my identity, everything about me, would be completely erased. The physical world in which we lived, and everything that constituted who I thought I was, was all illusionary and meaningless. At this point I knew I had a choice – I could re-enter the sphere and get my destiny over with, or I could continue this fabricated life for a little longer. I was unsure what I would decide, but then the horn on the streetcar went off loudly and I was brought abruptly back into this world. I had lost my chance to choose because I had hesitated.’

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‘The night started out with me getting ready for bed and putting on That 70’s Show in my bedroom. This was my regular routine. Fwooom! I was falling! Falling fast! Into my bed I sunk, further and further, and then all of the sudden; Black. The black disappeared in a flash of blue, and there I was, but not in my normal body. I was in the body of a human fetus. Was it my fetus? Someone else’s? This was irrelevant. The fact was it was me. I was floating through this blue dimension. I was beyond our world, and I soon realized that I could see the lines that made up my room, but I was outside of them. To describe this to you, I would say that I was in a fourth dimensional blue-print, viewing my three dimensional room. It was amazing. I was floating around the Fourth Dimension! I was there! I had somehow reached a new world that has been co-existing with ours this entire time. Soon after I found myself back in my room, but my room was not the same. I was still in the fourth dimension. I continued to float. At first I was in the corner of my room above my bed, and then swiftly I moved up into the top of my closet. Now I could start to feel the fourth dimension slipping away. But I didn’t want it to. I was saying to it something along the lines of: “I welcome you to the third dimension!” As I pulled my arm out of its reach for salvaging the fourth dimension my eyes opened.’

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‘I crawled to the mirror not being able to walked. looked in and jumped through to see my other side. I thought I had entered the mirror and was staring back at me. or so i thought. I looked down at my dog and to my suprise he was frozen in time.. I tried to pet him and i hit a sheet of glass. this when i relized i was still ‘in the mirror’ (when in reality i probally tried to pet the dog in the mirror) I crawled back to the sofa and tried to pull myself on. i decided to turn on music television because my fucking computer Crashed. I lay there on the couch making what seemed to be new revoloutions, including how i was one with the sofa, that why i couldent move. I even believed that humans turned into sofas when they die. I had a flash with god next as he appeared out of my curtains. He told me I had sinned. although not through phsycoactives but through my lack of respect for others. He told me i could still redeem myslef but i said ‘i’m too lazy’ and he said ‘Then i banish you to hell’. I dont remeber much i just remeber i was seriously comtemplating death as a way out.. Death dident seem that bad for some reason. I was still vary dissy and felt sick to the stomach but my dog started barking and chewing on my hand, so i needed to take him out for a walk.’

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‘I decided that the world we are forced into by birth was the alternate dimension that K helped you escape, but at the right dose would free you from. I stayed off the stuff for about three weeks. During this chapter in my life I really had no concept of time, it was pointless to me. Once I prepared my lines, rolled up my ‘lucky’ two dollar bill, and drank a small glass of orange juice I stared at myself in the mirror. Just stared. I did every line staring into my own eyes, and then felt myself suck through to the otherside. I am pretty sure I died, or at least tampered with the thin drape that seperates life from death. I found God, and God is not in religion. God is everything. Positive and negative, right and wrong, exsistant and non exsistant. God is the nexus of the universe, while being the universe itself. We are parasites. We feed off of the earth to survive, killing it in the process. We are nothing more than matter bumping into itself and re generating. Death is another word for freedom, the ultimate goal for any rational thinker. To my dismay, my mortal sight came back, but this is the strange part. If you recall earlier, I noted I was sucked into the other side of the mirror. To this day, everything is backwards to the way it used to be. I live in the other side of the mirror, and this is the life long physical effect K has left me with. Sadly, I found that the meaning of life is only to find life has no meaning.’

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‘I remember talking to D who was sat across the room but my words felt like they were having to travel much further than normal to reach her. I walked over and sat next to her and held her hand. I heard D say ‘I’m melting’ and I think I said ‘Goodbye’ as I also melted away from reality, as though I fell backwards into another space. Obviously we had entered the infamous k-hole, but I had no sense of this or any rational thought to cling onto or justify the experience. From here onwards it is very difficult to remember or relate the experience, all I can say is that it was as though I was stripped of my personality, memories, language, vision – everything that makes me human. There was just a sense of existing as part of the fabric of the universe, as if I had become sewn into it. I have vague recollections of some form of communication with other entities in this space, but not through language or visual means, probably more like telepathy or sharing the same point of consciousness in this most unusual domain. Although I struggle to retain any true memory of this place and the things that happened there I know without question that I witnessed the truth of the universe and our existence, or rather was reduced to the point, having been stripped of my human faculties, where I was returned into the truth that we somehow vacate to travel in our human vehicles.’

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‘M has this pre-trip ritual that he likes to go through, and I must say, I enjoy the calming he brings to me as well. He lights incense or a bundle of sage, and walks about the house in a meditative fashion. The Ketamine was injected at around 8:50. My trip began in a familiar space, that is, almost exactly where my last very powerful Ketamine trip had ended. I was greeted back by familiar beings, who existed only as energy in the form of light. I was being taught and rewarded with beautiful strings of music for each lesson that I learned completely. I was completely unaware of my human body and existed not as Erica, but as an energy on which the universe relied. In my transformed state of light, colorless light, I felt the presence of many other energies, including M’s, and many old energies who seemed happy to reunite with me. It seemed as though we were gathering in a timeless space, black like the moonless sky, and infinitely large like the universe. In the blackness of infinity, I witnessed the union of two energies, M’s and mine. We were, again, joined by all of the energies of the universe, and we all existed as white light. I was a particle, being united with my anti-particle, and when our streams of white light collided, we were all witness to the birth of a universe, a new existence, and we were all very happy. I suppose in some sorts, it was like the Big Bang, energies colliding and causing such disruption that existence was changed, and time began.’


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p.s. Hey. ** Bill, Hi, Bill. It’s funny or interesting that another filmmaker is making a big doc about Hirschfeld right now. I was asked to be interviewed for it, but I really am woefully uneducated on him and his work. First you were indeed. ** Adem Berbic, Hi. ‘Human creativity is overrated anyway’: Seriously? As compared to what exactly? ‘Only God can make a tree’? AI is human creativity. Cynicism about human creativity is human creativity. Makes no sense to me. Oh, I had this feeling at Breillat is trending right now, but maybe not. Ah, but you have plenty of friends who are only relatively safe in the best situations. Play your shoegaze faves at a slower speed? ** _Black_Acrylic, Kick off, no kidding. It was intense, as you probably saw. My usually sleepy neighborhood is usually deprived of protest action, but it was one of the hot spots for some reason. Police and protesters tearing the place up from late morning til early in the next morning. Too long a situation to recount, but my neighborhood is really trashed. It was exciting at first, but then the agitator set interfered and turned it ugly, and now the whole potentially amazing thing was completely counterproductive. The violence and damage are all the media and government are talking about, and the causes themselves are swamped. ** Steve Erickson, I assume by now you realise that what was kicking off was the protests. But your djing to the rescue! Everyone, Steve: ‘My latest “Radio Not Radio” episode is out now. I can’t pull up the complete tracklist because it’s on my other laptop, but it begins with a metal set, followed by art pop (more or less), then a mix of R&B, ambient and jazz. Here’s the link.’ ** Dominik, Hi!!! Thanks, luck of the draw. ‘Wellness’, thumbs up from the big D, noted. Absolutely about dipping into those starving apps. Has AI finally reached the point of believability at least when it comes to boys? That could be useful. Love wondering where he’s going to withdraw a little cash today since the bank and ATM he always uses was smashed to bits on Saturday night, G. ** Carsten, Hi. I sort of laid out the local protests’ effect to _B_A above. It was wild to put it mildly. Yeah, characters with minimal dialogue can have as strong an effect as the talky ones, for sure. The beauty of film. Well, we don’t say ‘there will be minutes of silent viewing and/or action at this point’, no. We just infer that. The Zoom club: the Rohmer film was beautiful, of course. The poet Ralph Dickey was a real find, a Black poet who committed suicide very young and whose work has been recently discovered. Very strong poems. I remember liking ‘Reservation Dogs’. Interesting. ** scunnard, The only ‘Animal Crossing’ game I played was the Gamecube one. Like I said, it was too addictive. It ‘ruined my life for a while, haha. My weekend was a crazy one thanks to the protests/riots, but it was for sure interesting. Cool about the interview. ** laura w, Hi. Oh, shit, I’ll email you today. The weekend got a little crazy. Your weekend sounds more imagination friendly. Wow. You got me as to why France and horror don’t mix so well. Movie-wise, there’s the director Jean Rollin, but then I run out of immediate examples. ‘I Saw the TV Glow’ is pretty good. Worth seeing. ** Dev, Hi. LAX, ‘good’ old LAX. LA is great but getting around, especially when it’s a foreign location, with its woefully un-adventagious public transport systems, is a challenge to be sure. I just saw your email. Poquito Mas! Your trip was a huge success! I moved here partly for love and partly because it was my nearly lifelong dream to live in Paris. Basically. ** HaRpEr //, His films can be a little uneven and messy, but there’s real value in them. Obviously very happy to hear you’re feeling less ‘crazy’. Ruts don’t have electrified fences around them, but that’s only a little of the battle. Whenever you’re ready to speak or spout, I gotcha. ** Uday, I’m such a non-techy guy that I had to look up what dataframes is, and I still don’t understand it. Well, more than I had. ** Okay. I think today’s restored post is very good at explaining what it is all on its lonesome. See you tomorrow.

Rosa von Praunheim’s Day

 

‘”Hello freaks, film friends and perverts! I was one of the first in the world to make a gay rights film after World War II, and I can say in all modesty that I’m probably the most productive gay filmmaker on Earth,” Rosa von Praunheim confidently writes on his website.

‘He is definitely the most hard-working one. Von Praunheim has directed about 80 feature and documentary films to date, as well as countless short videos for television. He initially didn’t even want to become a filmmaker, as he preferred painting. But he quickly noticed that he could reach a larger audience with his movies.

‘Rosa von Praunheim was born Holger Radtke on November 25, 1942, in a prison in Riga, during the German occupation of Latvia. Shortly after his birth, he was adopted by the Mischwitzky family, who brought him to East Berlin. The family lived in East Germany until they escaped to Frankfurt in 1953.

‘The young Holger developed an early interest for the arts. The first play he directed in high school was in Latin. He then studied at an art school in Offenbach and later at the Berlin University of the Arts. It was around that period that he assumed his stage name, “Rosa von Praunheim.” Rosa — German for “pink” — was a reference to the pink triangle homosexual prisoners had to wear in concentration camps, while Praunheim was the name of the district in Frankfurt where he lived as a teenager.

‘He directed his first short film in 1967. A year later, he received an award for “Rosa Arbeiter auf Goldene Straße” (Pink Workers on Golden Street). He became “famous and notorious,” as he likes to say, with his 1971 film, “It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives.” The title alone was already an unheard-of message in West Germany at the time. Even though the law criminalizing homosexual acts had just been reformed in 1969, homosexuality was still taboo for most Germans and the word “schwul” (gay) was used as an insult.

The filmmaker’s parents discovered that their son was attracted to men through this movie as well. This coming-out was a personal liberation for the artist, which he transformed into a wake-up call for all homosexual men. “I didn’t like gays who were completely apolitical and remained in the closet, who would find escape in parties instead of supporting the movement,” said von Praunheim. “I was angry at all the coward gays who would run away when chased by homophobes, instead of resisting as a group.”

‘With the film, Rosa von Praunheim became an instant icon of the gay and lesbian movement in Germany. He called homosexuals to “Get out of the restrooms and onto the streets!” and that encouraged countless people to reveal their sexual preference publicly. Within a short period, 50 gay rights groups were formed in West Germany. Von Praunheim became a star — in the art world as well. In 1972, his film was shown at the Documenta in Kassel.

‘The filmmaker pursued an unparalleled career and has won numerous awards. His films are campy and controversial, but often surprisingly peaceful and poetic. Many of them have gained cult status. That was already the case with his first feature film from 1970, “Die Bettwurst” (The Bolsters), a parody of bourgeois marriage. He also explored realities beyond his home country, directing, for instance, the documentary “Survival in New York” (1989) and its sequel, “New York Memories” (2010).

‘In 1985, he directed “A Virus Knows No Morals.” Instead of dealing with the issue of AIDS with what he called “a pity film,” he chose to do so with a black comedy. With the work, he aimed to entertain while raising awareness. “Many people criticize safe sex, because they believe the virus was created by the CIA and Germany isn’t threatened by it — as long as you avoid unprotected sex with Americans,” the filmmaker reported at the time of the release of this movie.

Von Praunheim organized Germany’s first large AIDS charity event in Berlin’s Tempodrom, featuring a series of major German artists such as Herbert Grönemeyer, André Heller and Wolf Biermann. He continued addressing the issue afterwards, creating an AIDS trilogy in 1990. While denouncing discrimination against people with AIDS, he outed two popular TV public figures, comedian Hape Kerkeling and TV host Alfred Biolek, on a TV talk show watched by some four million viewers. It become one of the greatest scandals of German TV history. “It was a cry of despair at the peak of the AIDS crisis,” explained Rosa von Praunheim later. He wanted to incite closeted people to move and show more solidarity with the gay community, which was strongly affected by AIDS and HIV.

‘Along with films dealing with homosexuality, the director has also centered many of his works on older women. Cabaret artiste Lotti Huber starred in von Praunheim’s film “Unsere Leichen leben noch” (Our Corpses Still Live) in 1981. In “Two Mothers” (2007), von Praunheim documented his journey to Latvia’s capital, Riga, searching for clues on his biological mother. His adoptive mother had only before told him that he had been adopted. He was nearly 60 when he found out that he was born in a prison and that his biological mother had been murdered in a psychiatric hospital. The artist further explored his own past in “Praunheim Memories” (2014), revisiting the streets of his youth.’

‘Much has changed within the 40 years of Rosa von Praunheim’s activist career. Since October 1, 2017, gay and lesbian couples can also get married. Isn’t that a wonderful birthday present? “No, not at all,” reacts von Praunheim. “We wanted something else. It’s now moving towards conformance and ‘let’s do like the heteros,’ but that wasn’t the plan.” Another fact disturbs him even more: “Many countries on Earth still criminalize gays. The situation is horrible for homosexuals in eastern Europe, in Africa and Asia. Churches vehemently fight against gays and lesbians. There’s therefore so much to do for us and for me, in the short time I still have to live.”‘ — DW

 

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Stills






















































 

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Further

Rosa von Praunheim Site
RvP @ iMDb
“I made a lot of difference and I was controversial”
ROSA VON PRAUNHEIM Le provocateur
RvP @ MUBI
«il faut révéler l’homosexualité des prêtres»
IT’S A WOUND-ERFUL LIFE
“IN TERMS OF OPENNESS, A LOT HAS CHANGED”
RvP @ letterboxd
RvP @ instagram
The work of Rosa von Praunheim: tackling AIDS in Germany through film
Interview With Rosa Von Praunheim
Perversion of Society
Gender expression in Rosa von Praunheim’s City of Lost Souls
“Quise educar sexualmente a la gente”
Reconceiving Trans Womanhood And Sexual Pluralism In ‘City Of Lost Souls’

 

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Extras


SPECIAL TEDDY AWARD 2014 – ROSA von PRAUNHEIM


My scene in the Rosa Von Praunheim film “Uberleben in Neukölln”


A restaging of NICHT DER HOMOSEXUELLE IST PERVERS’s legendary final scene.


Rosas Welt: 70 Filme von Rosa von Praunheim – Trailer Presse

 

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Interview
from Goethe institute

 

Mr. von Praunheim, a certain pleasure in provocation and breaking taboos runs through your whole career. You triggered considerable controversy in the early 1990s by outing celebrities such as Hape Kerkeling and Alfred Biolek on a TV show. Would you do such things again?

Outing was then a big thing. You can’t do something like that alone, but only with others, and that’s very difficult because I’m a loner really. But I certainly enjoyed it. I’ve made a film about David Berger, a gay religion teacher who was kicked out of his job, and tell how many gay Catholic priests there are. It would make sense to out gays in the Church. But that’s not for me to do. It’s a job for others.

How do you see outings today?

I think it changed journalism in a very positive way. Back then the media reported about gays only in connection with AIDS deaths, crime and what not. Suddenly, gays were presented quite normally in the press, without making a problem of them. That was a big improvement.

In “It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives” from 1971, your criticism was also aimed at the gay scene, from which you called for more commitment and struggle. What has changed since then?

One of the demands was that you should out yourself, be open about your homosexuality and talk about it in your circle of friends, with your parents, at the job. In terms of openness, a lot has changed. I think that many people now grow up more naturally with their gayness – supported by the internet, by gay groups and so on. This of course doesn’t apply to everyone. But because the social climate has changed, a large percentage can now live in their relationships more freely and openly.

On the occasion of your 70th birthday, you’ve launched a mammoth project – “Rosa’s World”, with 70 new short films. Many revolve around queer themes, but you also devote some to strong woman. Why is it that in the course of your career you’re films have repeatedly concerned themselves with older women, ranging from Lotti Huber to Evelyn Künecke?

It began with my Aunt Lucie, who played in Die Bettwurst (i.e., The Bed Potato) and became famous because, with her wonderful naivety, directness and honesty, she embodied a very different type of woman from that which had been previously known in film. I’m interested in older woman particularly because with them you have an erotic, but not a sexual, relation, and because between them and gay men there is often a wonderful solidarity. Perhaps also because we mutually esteem each other and both belong to minorities that are discriminated against by hetero men.

You haven’t yet had a big commercial hit. What does success mean to you?

Success is everything. But success also means when someone takes up your work. Or when someone tells me that he likes one of the poems I write everyday. Or when a couple of viewers go to the movie theater to watch one of my films. Naturally, it would be great if a thousand or ten thousand people would go to see one of my films, or if hundreds of thousands saw one on TV. But you grow humbler with time, because you know how difficult it is to prevail in this media circus. You’ve been very lucky if you managed to do anything at all.

The cartoonist Ralf König, to whom you recently devoted a documentary portrait “König des Comics” (i.e., King of the Comics), is also very successful with a heterosexual public. How do you account for that?

I think it’s the humor that makes it easier for straights to love gay life. Moreover, his comics and my films aren’t moralistic, but rather about everyday observations that could just as well apply to heterosexuals.

In the past your films and your commitment have initiated a good deal. Is there anything about which you’re particularly proud?

I don’t really know what to think about being “proud”. I’m happy that in my old age it’s been given me to continue working. My consciousness is focused more on the present and the future. The past and what I’ve done doesn’t really belong to me.

If you compare the Rosa of the early years with the Rosa of today, how much has he changed and how much has stayed the same?

I can’t say. I feel more like a seven year old. I notice this in the drawings I do. In them there’s something that was in me very early on and which I didn’t develop. So in this sense I’ve stayed the same. Very infantile. And that’s a wonderful feeling.

 

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19 of Rosa von Praunheim’s 161 films

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Samuel Beckett, 1969
‘Someone who is obviously supposed to be Beckett is walking down a Berlin street with a briefcase under his arm. He is accompanied on the soundtrack by an Italian text taken from Dante’s Divine Comedy. While the big words are being spoken, the camera, in an accurate documentary manner, moves a door sign into the picture (“Lunch from Monday-Friday 12-3pm”), but above all the Schillertheater. Beckett sits in front of the lofty building and reads the BZ.’ — Dietrich Kuhlbrodt


the entirety

 

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It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives, 1971
‘Perhaps the best Praunheim film and if its visual side has acquired a value of a historical record of a time – almost archaeological -, its ideological side is a performance of a timeless ideology – since the past always crave to return. The film gained an unusual perspective for the present as a document of contemporary action – the political art seek a discourse that in 71 had already found its formulation.’ — josé neves

Watch the film here

 

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Die Bettwurst, 1971
‘It’s love at first sight: elderly secretary Luzi and young, unemployed Dietmar find each other by accident in Rosa von Praunheim’s outrageous genre, social satire.’ — IMDb


Excerpt

Watch the film here

 

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Berliner Bettwurst, 1973
‘The story of the lovers Luzi and Dietmar from Praunheim’s earlier cult favourite film “The Bettwurst” finds its continuation: A marriage and device loan attracts two to Berlin, there will be married in the Memorial Church.’ — IMDb


Excerpt


Excerpts

 

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Porträt Marianne Rosenberg, 1976
‘The equipment of the 12-minute film, which was shot by a television team for the “Treffpunkt” series, has been brazenly increased to the kitschy. Marianne Rosenberg found nothing in it. Says Rosa von Praunheim. “She trimmed .” In the draperies of the interview apartment (it is Ulrike Ottinger’s) and in the dance movements of a third party (Tabea Blumenschein) a sub-image level develops that contains all kinds of lesbian signals. However, these are primarily not suitable for decryption. Marianne Rosenberg’s mother, who was there while the film was being shot, only intervened when asked about racial persecution. “That affects the image .” Interruption of the recording. And then came the simple “no”.’ — Dietrich Kuhlbrodt


Excerpt

 

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Army of Lovers or Revolt of the Perverts, 1979
‘This is a really fascinating snapshot of the gay community in America at a crucial point in time — right in the middle of the Anita Bryant firestorm and just before the failure of the Briggs Initiative, the death of Harvey Milk, and the AIDS crisis. This was made right around the same time as Word is Out and Gay USA, but its tone couldn’t be any more different than those mostly self-affirming documentaries. Here, von Praunheim both dredges up and seems to revel in the contradictions of the gay rights movement — both celebrating the open sexuality (and having unsimulated sex on camera) while chastising urban, ghettoized gays for their complacency with the small gains that they had made; showing a Grace Jones performance at New York Pride and interviewing a lesbian activist who found that performance to be sexist and degrading; and interviewing not just figures like John Rechy, Harry Hay, Del Martin, Phyllis Lyon and Fred Halsted, but also the founder of the American gay nazi party and one of the founders of NAMBLA. The result is a document that feels as messy, sprawling, angry — and occasionally sexually charged — as its subject matter. Can Criterion, Strand, or some other distributor finally pick up distribution rights for these Rosa von Praunheim films?? Crazy that they’re all so hard to find.’ — Evan


the entirety

 

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Tally Brown, New York, 1979
‘Tally Brown tells tales, sings songs, and commands the screen for documentary filmmaker von Praunheim (whose Survival in New York is also showing in this series). The classically trained Brown’s musical repertoire encompassed opera, rock, and much more. Her film collaborations with Andy Warhol and Taylor Mead are discussed, and friends Holly Woodlawn and Divine weigh in on a thrilling performer equally at home on Broadway and at gay bathhouses.’ — Quad Cinemas


Excerpt


the entirety

 

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City of Lost Souls, 1983
‘A group of American rock singers, dancers and acrobats live in Berlin. They are blacks, gays, transsexuals and Jews. What New York was for the 1960s, Berlin was for the ’80s. Ein groteskes Musical. Pollyfilla is a performer who defies traditional categorisation. As ScotsGay put it “they will engage in any act and transcend shame.” Adam Castle’s feral queer creature alter-ego stomps indelicately, the line between cabaret, drag and performance art. Behind the lurid façade of Praunheim’s film, lies a powerful dialogue about the queer and trans struggle for representation, which remains highly pertinent over 30 years later.’ — Another Gaze: A Feminist Film Journal


Excerpt


the entirety

 

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Positive, 1990
‘This film documents New York City’s gay community’s response to the AIDS crisis during the 1980s as they were forced to organize themselves after the government’s slow response to stem the epidemic. Activist who are interviewed include New York filmmaker and journalist Phil Zwickler, playwright and gay activist Larry Kramer and musician Michael Callen who co-founded people with AIDS Coalition. Framing the individual stories of these three men is a chronicle of the creation of the Gay Men’s Health Crisis, ACT- UP and Queer Nation as the gay community confronted the AIDS epidemic.’ — collaged


Excerpt

Watch the film here

 

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The Einstein of Sex, 1999
‘Magnus Hirschfeld (1868-1935) was a sexologist whose scientific investigation had an enormous impact on twentieth- century attitudes to homosexuality. Confronted with the conservatism of his era and driven by a determined humanism, in 1897 he founded the first political gay movement. Then in 1920 he founded an institute for sexology in Berlin. As a socialist homosexual of Jewish extraction, he was forced to flee his country in the thirties. During his stay in Los Angeles, Hirschfeld was called ‘The Einstein of sex’ by American journalists. He died in exile in Nice in 1935. Three years later, his colleague and friend Karl Giese comitted suicide, after a fruitless attempt to prevent the destruction of the Institute by the Nazis. Rosa von Praunheim wanted to found a monument to an important pioneer in the battle against homophobia in Der Einstein des Sex, which he considers to be his most conventional film. The film concentrates on the sensitive, tormented personality of Hirschfeld, on his emotional life and his political struggle. It also looks at the course of his love affair with Baron von Teschenberg, the happy years with Giese, his debates with the conservative anti-Semitic writer Adolf Brand and his relationship with his friend and guardian angel, the transvestite Dorchen.’ — IFFR

Watch the film here

 

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Cows Knocked Up by Fog, 2002
‘Catchy mix of farce and documentary. Portrait of a Berlin theatre company made up entirely of the homeless, alcoholics and junkies. They call themselves ‘rats’ and take the film over to have a party.’ — ogado


the entirety

 

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Men, Heroes and Gay Nazis, 2005
‘Given the often personal, sometimes lurid and typically gay-related nature of his films (and his ubiquity as a German public personality), it’s perhaps easy to overlook the fact von Praunheim has, over the course of more than 35 years, created one of the most fascinating sociopolitical-docu oeuvres in the world. “Men” is well up to par, making something coherent (if not conclusive) out of several overlapping themes, archival footage and interviews with current or former radical nationalists. Anti-immigrant sentiments, uber-masculinity fixations and obliviousness toward the movement’s general homophobia are noted. Pic also finds room to consider “new Fuhrer” Michael Kuhnen, a closeted neo-Nazi leader who died of AIDS, and the tolerated (to a point) homosexuality of Hitler’s SA commander Ernst Rohm.’ — Variety


Excerpt


the entirety

 

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New York Memories, 2010
’20 years after his successful documentary “Survival in New York”, Rosa von Praunheim returns to the city, in which he had the most exciting time of his life. Remembering his own experiences in the wild seventies, when New York City was characterized by sexual liberation and eccentric individuals, and recollecting the big changes in the eighties when AIDS started to take its toll, Rosa meets his former protagonists and goes on a personal journey to discover what has become of “his” New York.’ — MappealTv


Trailer

 

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Rent Boys, 2011
‘Despised, stigmatised and suppressed to the fringe of society — this is the reality young, male prostitutes face in Berlin. Most of the hustlers are immigrants, a lot of them act out of necessity. Rosa von Praunheim accompanies the young adults at their work in bars, porn movie theatres and on the street. He shows their reasons, their stories and above all, their strong will to survive.’ — mAppeal


Trailer

Watch the film here

 

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Praunheim Memoires, 2014
‘The filmmaker Rosa von Praunheim remembers his humble origins from the unglamorous district of Frankfurt Praunheim.’ — letterboxd


Trailer

 

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Härte 2015
‘A staple of the Berlin festival, Rosa von Praunheim’s stylised brand of filmmaking has never held him back when it comes to difficult subjects. His latest feature, Tough Love, is no different, capturing the challenging and often distressing life of Andreas Marquardt in a campy dramatisation intercut with interviews from Marquardt himself. Prostitution, molestation and karate are the defining acts of Marquardt’s life, although the harrowing experiences of his formative years and his natural talent for martial arts soon take a back seat to his career as a pimp. Informed by his awful experiences with his mentally ill mother, a career in the sex trade suits the lowly opinion of the fairer sex to a T. It’s tempting to not view Tough Love with a critical eye. It’s very nature as a retelling of true events compounded by low budget production values makes it more reconstruction than cinema. But Prauheim’s stylistic approach is distinctly melodramatic and as a result the film ultimately fails to unite form and function.’ — The Up Coming


Trailer

 

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Darkroom, 2019
‘In Darkroom, cult director Rosa von Praunheim focuses on a true crime story that occurred in Germany recently, and the result is one of his most thrilling films. Lars, a male nurse from Saarbrücken, moves to Berlin with his lover, Roland. They begin to renovate an apartment and their happiness seems.’ — MUBI


Trailer

Watch the film here

 

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Thirty Years with the Whip (2024)
‘It’s a mix of interview and biopic. Von Praunheim filmed the life of his neighbor and acquaintance, the dominatrix Tina (aka Lady MacLaine). Interspersed throughout the film are glimpses of Tina, now around 65-70 years old, recounting her life. What’s unusual about her story is that she herself has no emotional connection to sadomasochism, but rather had a partner who demanded that she inflict pain on him. He set up a kind of studio for her in her apartment. Since she was a gambling addict, she needed money, and she quite pragmatically turned her private hobby into a profession.’ — Eudora Fletcher

Watch the film (with French subtitles) here

 

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Satanic Sow (2025)
‘Rosa von Praunheim is the satanic sow, incarnated by the wanton actor Armin Dallapiccola. A poetic compendium of life and death with pushy fans, the Good Lord, lovers and Rosa’s horrified mother.’ — Letterboxd


Trailer


Interview with Rosa von Praunheim about ‘Satanic Sow’

 

 

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p.s. Hey. ** Dominik, Hi!!! Hm, that is maddening. Obviously you’ve used the WayBack Machine search function or whatever it’s called these days. Ah, I forgot about that firetruck one. That was a find indeed. Love successfully resisting taking part in the ‘9 favorite albums’ list fad thing that is currently sweeping through and clogging up his social media feeds, G. ** _Black_Acrylic, What’s the worst that could happen, right? I don’t know that Richard Metzger book. Huh, where was I? The occult has never appealed to me very much for some reason. Although as a horror movie thematic, it has its place. That does sound like a confusing time. And yet here you are! ** Carsten, That would be a more interesting world, for damn sure. Our scripts don’t lend themselves to standard page-to-film timing thing. Their pace doesn’t get determined until the film editing phase. Something can look like it’ll take 2 seconds in the script and then end up taking 2 minutes in the final film. For instance, our new script is quite short — 8966 words — but it will likely be another roughly 90 minute film. Very true, editing a poem is very different than editing a novel or script. It doesn’t work the same way, or not for me. Probably one of the reasons I quit writing poetry. My weekend? Have to finished some stuff for the ‘RT’ BluRay/DVD packaging ‘cos it goes to print on Monday. Chris Olsen, who plays ‘Paul’ in ‘RT’, is briefly in Paris, and I hope to see him. My biweekly text/film Zoom club is tomorrow, and the assignments are to watch Eric Rohmer’s ‘A Tale of Springtime’ and read poems by someone named Ralph Dickey, so I’ll be doing that. And the big student protests restart today, so we’ll see how that manifests. ** laura w, I thought so re: Connecticut’s location, but I didn’t want to presume. Ooh, The Warren House sounds fun. France doesn’t seem to have that kind of haunted house thing. I get the impression that the French are not very into the idea of existent ghosts. Happy about the turn around! Yay! Yes, I’ll write to you somewhere or other. Relieving weekend! ** Dev, Gotcha. Some friends here have a 9 year old son, and they’re bailing on a trip to the Halloween made-over Parc Asterix because they don’t think he’s ready for fake scary stuff, although, between you and me, I think he’d totally love it. But a parent I am most certainly not. I know of Esoterica by name, but I’ve never indulged in it. It is Halloween, and I am hungry, so maybe I’ll go dig in. Thanks a lot, pal! ** Steve, Interesting. Okay, I guess I really do need to check out Esoterica. It’s time indeed! Have fun. I’m jealous. Ah, just wait until you’re my age and mortality is the spice on everything. I’ll stay beady-eyed for the new ‘RNR’. ** Right. This weekend, should you choose to spend time over the next couple of days in this abode, will take place in the presence of Rosa von Praunheim of all people! See you on Monday.

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