Aufstellung

“Six young people move through a city in order to establish the starting point of their joint action. But they can’t agree on the topic. In the end everybody goes their own way and leaves the city.” - Hartmut Bitomsky

A “film-noir” on double identity and role reversal. A man is looking for a woman to love. He finds her in a seedy bar and persuades her to marry him. The day she decides to flee… he kills her. To ward off suspicion, he moves in with the sister of the deceased.

Interdisciplinary studies put into practice is a plane on which HaF's interests and mine coincide. Ideas of fictional research projects in films emerge very early on, or of film as research device, allowing people from different disciplines to come together and discover something, to pursue a line of thought, or just be adventurous. These ideas correspond to a tendency we both have of accumulating knowledge from different sciences, for example so as to bring exact sciences like medicine together with subjects which aren't directly aimed at application, such as religious studies or anthropology.

In 1980s East Germany, Berlin doctor Barbara is banished to a country medical clinic for applying for an exit visa. Deeply unhappy with her reassignment and fearful of her co-workers as possible Stasi informants, Barbara stays aloof, especially from the good-natured clinic head, Andre.

According to Harun Farocki, today's photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life - the "still life". The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary "still life": a cheese-board, beer glasses and an expensive watch.

An unconventional essay film that interrogates the visual and ideological legacy of the Vietnam War. Blending staged scenes, archival footage, photographs, and philosophical dialogue, the film follows various characters — including an American soldier captured by North Vietnamese villagers — as they reflect on violence, memory, and image-making. Set partly in West Berlin and partly in reconstructed spaces representing Vietnam, the film avoids traditional dramatic narrative in favor of a fragmented montage of voices, documents, and reenactments. Interweaving love stories, political debate, and historical commentary, Farocki creates a critical reflection on how war is represented, seen, and imagined, both in cinema and in public consciousness. The result is a complex meditation on images as weapons and instruments of perception.

In the aftermath of WWII, German-Jewish cabaret singer Nelly has to undergo facial reconstructive surgery following her survival from Auschwitz. Without recognising Nelly, her former husband Johnny asks her to help him claim his wife’s inheritance. To see if he's betrayed her, she agrees, becoming her own doppelgänger.

Clara and Hans are left-wing terrorists who have been sought by police for almost fifteen years. Their increasingly rebellious daughter Jeanne begins to pose a threat to their security when she falls in love with a boy she meets on the beach.

A young man, recently arrived in New York from Europe, becomes swept up in a series of events that are beyond his knowledge or control.

In Comparison revisits issues explored in the director's 2007 two channel installation Comparison Via a Third. Spanning continents and cultures, the film focuses on the brick in its many contexts, from the collective efforts of a community building a clinic in Burkina Faso, through semi industrialized moldings in India, to industrial production lines in Germany, France, Austria and Switzerland. Through its notable structure and its captivating rhythms, In Comparison presents various methods of labor production, allowing for an assessment that changes with every layer and goes well beyond a simple binary divide.

Harun Farocki was commissioned by the Lille Museum of Modern Art to produce a video 'about his work'. His creation was an installation for two screens that was presented within the scope for the 1995 exhibition The World of Photography. The work Schnittstelle developed out of that installation. Reflecting on Farocki's own documentary work, it examines the question of what it means to work with existing images rather than producing one's own, new images. The title plays on the double meaning of 'Schnitt', referring both to Farocki's workplace, the editing table, as well as the 'human-machine interface', where a person operates a computer using a keyboard and a mouse.

A look at how mall producers design malls in order to maximise traffic and sales.

Examines monuments scattered all over the world that have become goals for pilgrims and tourists and now serve to meet a whole range of different needs, from personal memory to spiritual enlightenment and religious sentiment. Farocki starts from the Vietnam Memorial in Washington ... thousands of people visit it every day, touch the letters and trace the names of family and friends in an attempt to establish a link between their own lives and the past. Other objects of pilgrimage – including the foot of the statue of the Apostle in St Peter’s and the Bocca della Verità in Rome as well as the devil’s footprint in the Frauenkirche in Munich and the monument in the Buchenwald concentration camp – meet the same need for understanding and purification. Stone is the material in which the collective memory of a life or an event in the past is immortalized and becomes an object of worship. At the same time, the memory of thousands of visitors is preserved in the traces of wear it displays.

A young East German woman leaves her controlling husband/business partner and relocates to a West German city to start anew as an accountant, but he soon catches up with her.

An austere treatise on the military-industrial complex that produces napalm.

Nina, a mentally ill teenage orphan, starts a new job as a garden cleaner when she meets Toni. They fall in love but soon Toni starts betraying Nina. Meanwhile, Francoise is picked up at a Berlin psychiatric hospital by her husband, Pierre. After spotting Nina, Francoise believes that she has found her kidnapped daughter Marie, but no one believes her.