More correctly, it was not Dora who contacted Lommel, but Lommel who kept Dora by his side in order to parasitize his art. Separate plot elements, images will be familiar to those who saw Documentary Garbage, since, again, it was shot with the involvement of Lommel’s scenery, as if on the back of his films. That's where the best scenes are from Dora. Later circulated as a short film, the scene of killing a cow at the slaughterhouse is remembered much more than the material that was shot by Lommel (Dora here is an executive producer and second director).
Lommel’s work tells about the crimes of the real maniac Dennis Rader, nicknamed “B.T.K. Killer” (bind, torture, kill). He committed his murders for 17 years and was only arrested in 2005, at the age of 59. That is, Lommel made his film on the hot trail of catching the villain. It seems to be done in a hurry, without any development of the personality of the maniac, analysis of his psychology. Lommel didn't need that. The main thing for him is to quickly sell the film to the Americans (it is noteworthy that in Germany the BTK Killer was not officially released at all) and distribute it on DVD. However, fortunately for Lommel, his worthless film will still remain in the history of the avant-garde, because Dora made 2 short films from those scenes that he directed. Plus, a curious viewer can always compare this incompetent craft with “Documentary garbage” and admire how Dora even grows an art flower from garbage.
Marian Dora continued to collaborate with Lommel, using him as an actor not only in Documentary Garbage, but also in Melancholy of Angels and Carcinoma. But the strongest creative alliance he had with the actor and producer Carsten Frank, more than convincingly portrayed madmen in the cinema Dora.
3 out of 10