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Documentary about a village in Portugal based on the encounter between a daughter returning home and her single father. Documentary film about farmers in Portugal—their hard work, their everyday lives, but also the pleasure they derive from their first attempts at painting.

Literary, epic, and dramatic content emerges from kaleidoscopic visual impressions and formal interplay, i.e., through references between images. Even the characters remain in the background and do not play a "leading role." The film's underlying theme: serene landscapes, a shadow passing through the image, fear and paralysis.

Associatively arranged image rhythms and scenes based on Hans Arp's automatic poems from his 1920 work Wolkenpumpen (Cloud Pumps).

Politicians and military leaders are preparing for Day X, the outbreak of war in our country, with simulation games and exercises.

A quick current video about the first house squatting in Hamburg in the early 1980s. After several years, the house was empty, it was occupied on September 27, 1980 and demolished the day after the next. The thede and the MPZ were informed in advance by the occupiers about the action. The filmed material was then immediately mounted into a film and shown on a monitor in the pedestrian zone of the nearby Große Bergstrasse.

A house squatting at the Green Hunter in the Schanzenviertel on May 29, 1981. The following night the house was cleared by the police.

The great Brokdorf demonstration 28.02.1981. “The media do not miss an opportunity to set the waves of mind in motion: The battle for Brokdorf! Despite the ban on demonstrations: 100,000 people in Brokdorf. All criminals? Our film is an examination of television reporting and its consequences. We, a group of nuclear power plant opponents, made this film because we got angry. The anger when looking at the television screen, where the coverage turns the world upside down; the anti-nuclear power plant movement is defamed and criminalized; - Dissidents are dismissed as utopians, Stone Agers, enemies of the state and perpetrators of violence. What drives the responsible editors, the “makers” to this kind of reporting?

This video is not about legend making, but about Nazi propaganda. The tone of a Hitler speech contrasts with synthetic images.

Documentary film about a Yugoslavian migrant worker couple who have been living in German-speaking Switzerland for 16 years but hope to realize their dreams and values by returning to their homeland.

The videos No.1, Lover Man, 90 Grad in Berlin, Party and No.5 (1977) were filmed from a monitor in 16mm in 1980 and fused together into a single film: "Marktstr! 1A." Although nothing was altered in the videos—nothing added or omitted—a new work emerged. The medial transformation of individual videos into a coherent 16mm film creates a qualitatively different art object in terms of temporal, material, and perspectival perception. (Uta Brandes 1984)

A structuralist self‑portrait that cycles repeated frames of Schillinger’s own body and face through generational processes (film to video back to film), using slow-motion and flickering grain to evoke and deconstruct the archetypal femme fatale image and female desire on her own terms.

Based on impressions of young people's encounters with pop music, the film takes up sociological and medical aspects of listening habits and encourages viewers to deal with questions of addiction to music, consumer manipulation and psychosomatic impairments.

A film about various aspects of how humans interact with water, using Germany as an example. The contradictions that were already apparent at that time were scarcity, pollution, and privatization, but also soil sealing.

The film describes the working situation of programmers and reconstructs in 7 chapters dialog attempts with a system that works according to strict formulas and laws.

The film focuses on the development of absolutism in the Duchy of Wolfenbüttel under Duke Anton Ulrich, as preserved in pictorial documents and architectural monuments. In addition to the ideas of French absolutism, the court and government as well as the financing of the expenditure through taxes and duties, which placed an extraordinary burden on the people, are shown in detail.

Short experimental film based on a quote from Mayakovsky: The crocodile lies lazily, bored in the blue-green water, ready to become a predator at any moment.

Using the basic nutrients protein, fat and carbohydrates as examples, the film provides an introduction to the complicated processes of digestion. Our digestive organs are presented schematically. It is shown that the interaction of the digestive organs prepares the food we eat and makes it absorbable. The absorbable food components enter the organism's metabolism and serve to build up the body and generate energy.

Short film directed by Helmut Savini

Short documentary

Short film about trams.

Short film directed by Tilmann Kohlhaase

Short film directed by Peter Baudendistel

A Jewish boy in Berlin today: David’s daily life is hardly any different from that of his classmates. When his friends Max and Felix discover his religious background, he takes them to the synagogue and explains the interior and the order of the service to them. Documentary clips from a Bar Mitzvah celebration are interwoven into the fictional narrative. As guests in a Jewish religious education class, the boys eventually learn some rules of Jewish dietary laws and their significance in everyday life.

Short directed by Mansour Ghadarkhah

Short directed by Frank Titze and Uwe Steeb

Short directed by Raoul-Michael Kaltwasser

Short-documentary directed by Leiprecht, Pot and Willems

Rabbi Löw was not only a prominent Kabbalist and alchemist of seventeenth century Prague but also a prophet of new visual media and cybernetics. Bielický’s video composition evokes a world seen through the eyes of Kabbalah. Flowing water merging with television static symbolizes the process of birth, movement, deviation, and the passage of time.

Although Bielický works with video, he actually understands video as the point of intersection between story, object, and electronic signal. The same is true of his miniature Im Herbst, in which he combines shots of nature, the body, and TV monitors.

“Bells ring for victim and perpetrator alike, they ring for the master and the servant, the sounds falling into each other, beginning and end, life and death, sleep and awakening, work and prayer.” Helga Schütz’s lyrical verses are closely interwoven with Dagnija Osite-Krüger’s exploration of bells and their many shapes. Whether melted down as tools of war or warning of danger – “Vivos Voco”, which also teaches us about the craft of bell founding, envelops us in an eery, monumental and epochal way. In her auto-fictional biography, Schütz writes about the collaboration with Osite-Krüger: “The two of us and the film, we were a team, we and the co-determinant images.”

The silhouette of a man takes a few steps away from the camera, 'into' the image. His back is to the audience as he seemingly stares into the same view that we, the audience, see around him. There he stands, partially obscuring the image that is now projected over him. His body is almost still in contrast to the jerky, handheld footage which was filmed walking through what appears to be a cemetery. A second scene takes us down a long (underground?) corridor illuminated by strip lights. Throughout the film, the camera is in constant motion, penetrating forward, at times looking out from a moving vehicle. The sound we hear could simply be that of a running projector, but in combination with these murky images, a more ominous, foreboding atmosphere is implied.

A hike around the GDR without any record ambitions, just the desire to experience something, to challenge themselves, to get to know the country and its people - their own country, their own people - better. Six men, aged between 25 and 40, set off on a hike, curious about everything they will encounter along the way between Cottbus and Zittau - nature, sights, people. The viewer gradually realizes that there is actually a sensation behind this seemingly natural, visibly unspectacular, cheerful process. This is already the 13th stage of the planned hike around the country. Memories of previous stages make the scale clear. The men, who we have already got to know quite well over the five days, manage the daily 25 to 30 kilometers with such ease because they are passionate athletes: Mountaineers in Saxon Switzerland.

A female star walks through a thunderstorm of flashlights towards the reporters - and says something unexpected.

"Goblin's Chants" is a starkly reductive and hypnotic work, structured around a single charged image. Klaus vom Bruch's torso is inscribed with a rotating computer generated construction (in real: a handmade wooden model put on an ordinary turntable); creating a composite image that metaphorically describes a collapse of the private and public space of vitual media. This spectacle of technology imposed on the human body is accompanied by a haunting soundtrack of traditional songs of the Pygmies. Ultimately, the artist turns his butt onto the viewer, communicating with fundamental body language.

The film combines documentary scenes, TV clips, and passages from an interview with the then Postmaster General Christian Schwarz-Schilling in a fictional plot and mixes video and 16mm film. A film on videotext and the brave new media world, in which the – presumably first – female hacker redirects a few things into other channels. It is also a critique of the working conditions in the emerging information service industry.

Collage of 30s original black and white films made by the filmmaker's father, and new color films. The intention of the film is to share through the eyes of the girl, the sequences shot by the father, which showed his patriarchal and colonialist point of view, his images of himself and his sexual fantasies. In this sense, it is a film about the problematic relationship, libidinous as well as critical, between a father and his daughter.

Under police protection, Pegasus leaves the city. The old opera house in Frankfurt is being demolished!

The Zeil in the circle.

The starting point of the work is the idea of ​​making the structure of the image audible via the simultaneously exposed light tone, of generating sound and moving images using photographic processes, but without a film camera. The dramaturgical stipulations for this resulted from the photo images, taken evenly as a series of 5 from different perspectives, which resulted from different distances to the photographed object, edited and expanded with a copying technique that I have been continuously using numerous photographs since I was 16 and material collages. This collage of moving images and the experience and knowledge that I was able to derive from it became the cornerstone for my creative ideas.

A tie or lace? After trying on numerous treasures from New York’s second-hand stores, and extravagant fashion accessories, Karola Gramann decides on a traditional dinner jacket with cummerbund and bow tie. We then see her posing & vogueing to Bryan Ferry’s “These Foolish Things”. These shorts are an early gender bend that evoke Kenneth Anger’s biker etude Scorpio Rising (1963) and even anticipate the Madonna phenomenon.

Film by Telscher.

Film by Telscher.

Film by Telscher.

Der General defies narrative conventions. As a visual experience and thanks to the manipulations of color and the processing of images, Der General deploys its own logic and becomes a consistent whole in its visual expression. Plunged into a world of abstract fairy tale, traces of dreams, the nature and history of Germany converge and shape a timeless and limitless kingdom.

Short film about Berlin Kreuzberg.

As she reads, M. delves deeper and deeper into the inner space of her imagination. The imagination of elsewhere allows her—perhaps—to take a step outside.

I found Günther at the flea market and immediately fell in love.

Portrait of street musician Thomas Böge.

An illustrator travels from one city to another in search of inspiring motifs. Unable to engage with his surroundings, he realizes the futility of his distant quest and eventually disappears. A cinematic attempt to explore 'subjective' and 'objective' perspectives.

Clouds in the sky, sounds of the earth. Details are an opportunity for discovery, association, and memory.

Two men with skin and hair, the fur of a cat, the feathers of chickens, the liver of a slaughtered animal, the cloth of a dancing boy, the spines of an agave. Light is time. Light is space. The plot is the interplay of things.

The GDR is delivering pre-assembled port crane systems to Morocco by water.