Fabian oder Der Gang vor die Hunde (AKA Fabian: Going to the Dogs) is set in 1930s Berlin. Dr. Jakob Fabian works by day in advertising for a cigarette company and by night roams the city streets, falling in love with an actress (Saskia Rosendahl). As her career begins to flourish, his prospects for the future start to fade.
In a very brief sequence at the 10-minute mark, we see Hannah Schiller topless, lying on her side in a bed. At the 27-minute mark, Meret Becker takes the stage at a nightclub. She is wearing a coat open in the front and is totally naked underneath. She has a large floral tattoo on her torso. At the 38-minute mark, Saskia Rosendahl is lying naked on a bed. Next to her is a man, who caresses her body and then her lips. In the following scene, the two enter a room completely naked. He sits on a bed and shines a lamp on the actress’s full-frontal nude body as she stands before him. The woman smiles and begins to dance, then runs toward him. At the 40-minute mark, the two are still naked and are eating bread, butter, and pickles while sitting at a table. At the 114-minute mark, Lena Baader poses nude for a pencil portrait, while Luise Aschenbrenner makes out with a man on the sofa in the adjacent room.
In a very brief sequence at the 10-minute mark, we see Hannah Schiller topless, lying on her side in a bed. At the 27-minute mark, Meret Becker takes the stage at a nightclub. She is wearing a coat open in the front and is totally naked underneath. She has a large floral tattoo on her torso. At the 38-minute mark, Saskia Rosendahl is lying naked on a bed. Next to her is a man, who caresses her body and then her lips. In the following scene, the two enter a room completely naked. He sits on a bed and shines a lamp on the actress’s full-frontal nude body as she stands before him. The woman smiles and begins to dance, then runs toward him. At the 40-minute mark, the two are still naked and are eating bread, butter, and pickles while sitting at a table. At the 114-minute mark, Lena Baader poses nude for a pencil portrait, while Luise Aschenbrenner makes out with a man on the sofa in the adjacent room.
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