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Despite all this focus on sex, the film's most indelible moments involve Ripploh's role as a teacher of young children and the continued separation of his private and professional lives. The film's explicit sex scenes are so matter-of-fact that they will probably bother only the sort of gay-unfriendly viewers who wouldn't be drawn to the film in the first place the same can't be said for comical yet queasily unflinching depictions of S&M experimentation and STD-clinic exams. Scenes involving Ripploh's tender yet troubled relationship with his lover, Bernd Broaderup, balance out the film's wry indictments of liberatory excess as with Armistead Maupin's Tales of the City series, which would be dramatized far less frankly more than a decade later, the tension between domesticity and unbridled lust is a central concern. The title translates as "Taxi to the Toilet," a reference to the telling yet hugely comical sequence in which a hepatitis-stricken Ripploh cabs it from tea room to tea room, looking for the same sort of anonymous sex that originally landed him in the hospital. Exploring his own life, autobiographical filmmaker Frank Ripploh captures both the liberating and the troublesome aspects of promiscuity, gay liberation, and the emergence of urban homosexual enclaves. A landmark exploration of post-Stonewall, pre-AIDS homosexuality, Taxi Zum Klo portrays gay life poignantly, humorously, and frankly, in all of its freedom and compulsive dysfunctions.