The male authority figure of the family - and guardian of younger sister Gerti (Maresi Riegner, WE ARE FINE) - since the death of his father from syphilis and the withdrawal of guardianship of his uncle, young Egon Schiele (Noah Saavedra, SPECTRE) decides to form a society of nouveaux artistes with dancer Dom (Daniel Sträßer, LOU ANDERAS-SALOME, THE AUDACITY TO BE FREE) and Anton (Thomas Schubert, THE DARK VALLEY). Gerti serves as Egon's model, catching the eye of patron Carl (Martin Muliar), but she is soon overshadowed by Moa (Larissa Breidbach), an exotic model of nude tableaux vivants at the Prater theater (entertainments that front a prostitution operation until her own ambitions outgrow them; whereupon Schiele meets his greatest muse Wally (Valerie Pachner, BAD LUCK) through the much-admired painter Gustav Klimt (Cornelius Obonya). When Gerti gets pregnant and marries Anton against Schiele's wishes, the group of artists breaks up and Schiele retreats to the countryside with Wally; however, his penchant for utilizing child models for his studies lands him in trouble when he and Wally are accused of abduction and seduction of a minor. Although he is found innocent of molestation, his work is branded as pornographic and they return to Vienna and a sort of domestic existence in which Wally takes Gerti's place as both model and handler of practicalities (including collecting payment by any means necessary). Their happiness is short-lived when Schiele is called to the front and Wally presses him for marriage - wives being allowed to take rooms nearby where their husbands are allowed off the base nightly - whereupon Schiele's middle class priggishness surfaces and he tells her that she would not be a suitable wife for him. Although he has more in common in temperament with Adele (Elisabeth Umlauft), he ends up marrying her younger sister Edith (Marie Jung, HANNAH ARENDT) after having charmed their parents with tales of his family's former social station. Schiele is called to the front but remains haunted by Wally with his wife's insistence on conventionality and refusal to fulfill his artistic and physical needs. Although EGON SCHIELE: DEATH AND THE MAIDEN is framed as a series of flashbacks to the last decade of the artist's life while on his deathbed (he would succumb from influenza at age twenty-eight), Austrian director Dieter Berner's biopic plays more as a chronological account than an exploration of any of its underlying and underdeveloped themes the intermingling of Schiele's aesthetic concerns and erotic interests, and whether it is he or his muses that capitalized on the titillation of patrons and customers while insisting that what is taken as pornographic is actually erotic. It is ultimately a gorgeous-looking but not particularly illuminating biopic.