Christoph Schlingensief is without question a filmmaker whose nationality resides at the heart of his reflections on cinema–his country is his subject of study, his source for experiment and the object of his passionate contempt. Renown for his ultra-provocative experimental films, for which he developed his own singular trashy, kitsch aesthetics, he became an artistic figure as a post-war filmmaker critical of his country’s amnesia towards its Nazi past, as well as its xenophobic current politics. A heir to Fassbinder, whose actors he casted in his own films, and who he salutes in The 120 Days of Bottrop, and, anecdotally, a fervent detractor of Wim Wenders during his lifetime, his films were created to shake bourgeois norms and society’s inertia in an attempt to scrutinize German identity and represent it as a perverse nation full of freakish, racist individuals. By revisiting four of his films (two of which are part of his German trilogy!), we are happy to present a filmmaker who incessantly analyzed his country’s culture, people, and history to better illustrate its twisted national essence.