Schlingensief’s 2nd feature film is made in 1985 and much of the dialogue consists of the exclamation, “Mama!”. A young boy is lying in bed screaming for his mother. But mama is away performing military exercises in a meadow with a sect like group. People yell, fleeing through dark basements to the thunder of bomber planes and an insistently peppy, upbeat jazz score. Voices echo, tinny and distorted, as in early talkies; there are chases and orgies. It is a nightmare of grainy black and white, reminiscent of silent movies. A similar mood prevails in 100 Jahre Adolf Hitler – Die letzte Stunde im Führerbunker (100 Years of Adolf Hitler. The Last Hours in the Fuhrers Bunker), shot in 1989: Hitler, Eva Braun, Goring, Goebbeis, and others are playing “Death in the Fuhrer’s Bunker” and celebrating Christmas. Sex and violence mingle with petty bickering and silly games. It is pure insanity, performed by the actors in a straightforward manner, as if their behavior was perfectly normal. This early movie already shows an interior, a hermetic logic that is relentlessly followed through. The director is well aware of the inherent contradiction. He finds Menu Total funny. But during the premiere, fights broke out in the audience, and Schlingensief’s father was so horrified he cried.