The film revolves around a dying man, Katze (Carsten Frank), who reunites with an old friend, Brauth (Zenza Raggi), to return to an old house which holds a dark past.

It received polarizing reviews, with some praise towards the cinematography, but most condemned it as hardcore exploitation with repetitive and meaningless depravity communicating its nihilistic message.

Katze also finds two other old acquaintances attending: Heinrich, an elderly artist who claims to be a dead man, accompanied by a young woman named Clarissa, tied to a wheelchair.

The film contains explicit representations of coprophilic and urophilic actions: one scene involves a man defecating on a woman while taking her panties off, wiping himself, and shoving the pair in her mouth, all the while gesturing harshly to put her finger in his dirty anus.

The nun begins to pray and then undresses and masturbates while Katze enters the crypts, watching the tombs with morbid curiosity; at the same time, Melanie assists in hunting and slaughtering a pig, and Brauth rapes Anja.

Brauth becomes tired of Clarissa's laments, slams her into a basement, and tortures her by ripping her colostomy device off, jabbing his fingers into the hole, then throwing her down from her wheelchair and abandoning her.

Afterward, an orgy takes place in which the four remaining members of the group burn Heinrich, still alive, at a pyre while the participants engage in sexual acts and urinate into the fire.

Bianca comes crawling from the old house while Melanie looks at a tiny skull inside a pendulum clock and finds a tape containing the scene shown at the beginning.

After the shooting was completed, artistic disagreements regarding the censorship of some scenes resulted in Carsten Frank separating himself from the project as well as the destruction of certain sequences shot for the film.

Subsequently, the film made its home video debut in the US in 2020 with a Blu-Ray edition by PCM media, featuring the extended cut as well as the documentary “Revisiting Melancholie der Engel” from 2017.

[2] Severed Cinema's Ray Casta panned the film, highlighting the pacing and runtime, calling it "a depraved, perverse and nihilistic endurance test.