A fearsome 19th century bandit, Cobra Verde cuts a swath through Brazil until he arrives at the sugar plantation of Don Octávio Countinho. Not knowing that his new guest is the notorious bandit and impressed by his ruthless ways, Don Octávio hires Cobra Verde to oversee his slaves. But when Cobra Verde impregnates Don Octávio’s three daughters, the incensed plantation owner exiles the outlaw to Africa where he is expected to reopen the slave trade. Following his trans-Atlantic journey, Cobra Verde exploits tribal conflicts to commandeer an abandoned fortress and whips an army of naked warriors into a frenzied bloodlust as he vies for survival.

Making-of documentary that covers "Cobra Verde," Herzog's last film with Kinski before Kinski's death. This is the documentary that registers the behind the scenes moments of "Cobra Verde", the last project that united director Werner Herzog to actor Klaus Kinski. The notorious and infamous relation between the two filled Cinema theatres with masterpieces, but also filled pages of Cinema History with mutual declarations of both love and hate.

Two young prostitutes decide to settle on a farm in the outskirts of an idyllic Bavarian mountain village. Initially, this is a pain in the neck for the village council and the local clergy, but the moral guardians soon reveal themselves to be lacking in steadfast ideals.

"The film starts with a shot of a cassette recorder, and it has a juke box in it. There’s always music in it. When I was asked by some critics at a festival press conference what the film was all about, I said 'it’s about the song All Along The Watchtower, and the film is about what happens and what changes depending on whether the song is sung by Bob Dylan or by Jimi Hendrix.'" Well, both versions of the song appear in the film, and everybody thought I was pretty arrogant to explain the story this way. But the film really is about the difference between the Dylan version of All Along the Watchtower, and the Jimi Hendrix Version. One is at the beginning and one is at the end." – Wim Wenders