Jorg Buttgereit
Nekromantik

There is a group of German losers driving around in a van even more pathetic than they are, cleaning the streets of accident victims' body parts with their hands (obviously, there's more tact) possibly due to the precarious economic situation of the company they work for (white Clockwork Orange-style suits but ripped at the back, trash bags for the poor remains).

Some do it for money (3 of them), and some out of passion (the protagonist): imagine having an organ collection, cool right?: livers, tongues, and intestines are more decorative, and if you get hungry and the fridge is empty...........

Our necrophile even has a partner who is worse than him and eventually finds in a corpse a more satisfying lover than her boyfriend; here comes the third wheel who, given the state of the couple, couldn't be alive, it's a poor little skeleton found abandoned in a ditch and completely gone (in the sense of decomposed, not drugged).
Admirable is the affection and gentleness with which they involve him in the sexual act, playing with the removable eye (he no longer has eyelids) and kissing his sticky cheeks (pardon, the facial bones with dangling tissue bits) and, then, since all the soft parts are in liquefaction (therefore also the penis), the tender newlyweds make do with a bed's iron rod which, being clean, needed to be covered with a condom, since the world began, it's known that too much hygiene causes irritation to the filthy…
All this tender idyll abruptly ends with the street cleaner's dismissal: and it's a real trauma for the zealous collector not to be able to procure bodies for common enjoyment; so she leaves taking the oozing toy and he goes mad.
The ending is then crazy but I won't say anything not to spoil the shock for you, the music is truly brilliant and contrasts with the visual gruesomeness with those redundant synth cascades, the thing I like about Buttgereit is that behind all this amateurishness lies a bit of existentialist philosophy not to be underestimated (which emerges especially in his second work "der todesking" and in "schramm"), seen in this light, the protagonist's dream of seeing himself as a child on a family outing while playing with his sister tossing a ball which, after all, isn't other than the decapitated head of the former lover corpse.

MORAL of the STORY: the film is truly a real CULT: uniquely sordid, reflecting the state of accelerated decomposition of what was considered the economically most powerful nation in Europe, West Germany, this film gives a biting sociological portrait of a nation destined for collapse right after the wall fell, with the Deutschmark sacrificed on the altar of the Brussels Masonic oligarchy and the imminent new world order, several "historic" scenes like the necrophile orgy, heavily censored and banned everywhere (more than "Salò" by Pasolini, "Possession" by Zulawsky, and "Caligula" by Brass & Guccione) but above all, this film is a love story, of necrophilia and romance, of morbid and extreme decadence, paying homage to the divine De Sade and the blasphemous juxtaposition from the klossowskian baphomet, and Baudelaire's "every day we descend a step towards Hell, without feeling horror, through mephitic darkness" (from "les fleurs du mal").

Note on the interpretation of the sex scene on the tomb: from the way he moves, either he never did it or they told him to imitate a convulsing rat......