MOSI – The Bavarian Dream

His Munich boutique was a tourist attraction, there was no magazine that didn't report on him: Often seen cradling his beloved dog Daisy, Rudolph Mooshammer celebrated his life as a dream of luxury and baroque opulence that transcended everyday tribulations. He captivated the bourgeois mainstream, who paid homage to their flamboyant celebrities in the gossip columns and on the emerging private television. The persona Mosi offered a glimpse into an unknown world. Through it, gay bars, the fashion industry, and the Munich in-crowd seemed to draw closer to their own ordinary living rooms. Despite his eccentricity, the fashion czar always appeared charming and relatable, becoming an icon, a mascot, a cult figure. In MOSI – The Bavarian Dream, Alexander Eisenach does not trace supposed biographical details in the style of a biopic, but instead explores the staging of a life seeking to transcend the dreariness of daily existence, ‘as a Punch and Judy show and an artificial catwalk tragedy, Horvathian folk play, melancholy farce, garish cosy déjà vu and gloriously hilarious surreal nightmare.‘ (Münchner Merkur)‘

«The theme of the evening: the interplay between appearance and reality, between glamour and misery, between glitter and the gutter.» (Süddeutsche Zeitung)
«’Mosi’ is not merely a plaything of the media and his patrons, who make his luxurious lifestyle possible. He exploits the hypocritical system itself. With his brutal death, ‘Mosi’ ensures ultimate media presence. Eisenach reveals this truth with brutal honesty, maintaining a fine balance between laughter and horror.» (Theater der Zeit)