Her only foray into science fiction—about the havoc wrought on society by a television that satisfies every human craving—The Last Days of Gomorrah was a favorite of Sanders-Brahms, who brought feminist politics to the New German Cinema movement of the 1970s. It is a forceful piece of capitalist realism, critiquing working-class alienation and commodity culture.

Cybernetics engineer Fred Stiller uncovers a massive corporate conspiracy involving a virtual reality computer project.

While out on the town in Berlin, Raymond sees and falls for Harlis, a star of a troupe of lesbian cabaret strippers. Attracted to a man for the first time, Harlis leaves her long time girlfriend and dance partner. Overwhelmed by jealousy and anger, his brother (Peter) and his ex-fiancee (Ria) are determined to sabotage this budding romance.

Schroeter's virtuosic staging of the Oscar Wilde tragedy is a complex montage of image and sound, filmed on the grand steps of Baalbeck, the ancient Roman temple in Lebanon, and interweaving Lebanese and German folk songs with the music of Verdi, Wagner, Strauss, Mozart, Bellini, and Donizetti. Elfi Mikesch, the cinematographer of Schroeter’s later films, designed the film’s sumptuous costumes. A contemporary critic for Le Monde wrote admiringly of Schroeter’s depiction of "the deadly struggle between dark Christian morality and luminous paganism.“

Schroeter’s film is a chronicle of Germany from the Nazi era until the economic boom of the 1950s and 1960s, centering on three women who search for a career as singers and dancers.

Mockumentary about German schoolgirls openly talking about their scandalous sexual experiences. Some of these are illustrated through inserted vignettes. Also, a street reporter asks actual common folk about their views on sex.

After pulling off a bank robbery two bandits meet in a deserted mining town to divide their loot but an old miner tries to steal it from them.