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An exploration of how the U.S. military employs video game technology to train troops for war. In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.

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.

Exiled to a rural clinic in 1980s East Germany for seeking an exit visa, a disillusioned doctor maintains a guarded distance from her colleagues, unsure if the kindly head physician is a genuine ally or a Stasi informant.

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.

Farocki’s intriguing and troubling film explores the processes of visual perception and how they affect our understanding of history and society. In a work reminiscent of the writings of Paul Virilio and Michel Foucault, Farocki examines a range of phenomena including aerial reconnaissance photos of the Auschwitz concentration camp.

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.

This film is at once a self-portrait and an homage to Jean-Marie Straub, Farocki's role model and former teacher at the Film Academy.

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.

Drifters tells of Karin, a past-her-prime cosmetics saleswoman, with her increasing exasperation with her life and her dreams of leaving it all behind and living in Paris. An unlikely but entertaining plot develops, where anything can happen.

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.