This film is a documentary composition of new jazz, New York as the city that generates it, and the musicians playing it. The thoughts of the saxophonist Charles Gayle and the bass players William Parker and Peter Kowald from Germany accompany the film. Shot on 16 mm, this film remains one of a kind until today. Some of the recorded musicians have passed away - their spirits live on.

Doctors say that Veronika, a woman in her 20s, is schizophrenic. She is compliant, which makes her an easy target for men. She's religious, believing she is God's favorite child; she searches for Jesus. She has sent a letter to a filmmaker suggesting her life as the subject for a movie. We see her raped then take up with a series of men she believes are Jesus, each willing or insistent on sex. A young man with his own crisis of faith invites her to join a cult. We see her involuntarily committed to an asylum from time to time where medication and constraints await. Her wealthy parents are helpless. Will a medical professional ever talk to her? If one did, would it help?

This film is a documentary composition of new jazz, New York as the city that generates it, and the musicians playing it. The thoughts of the saxophonist Charles Gayle and the bass players William Parker and Peter Kowald from Germany accompany the film. Shot on 16 mm, this film remains one of a kind until today. Some of the recorded musicians have passed away - their spirits live on.

This film is a documentary composition of new jazz, New York as the city that generates it, and the musicians playing it. The thoughts of the saxophonist Charles Gayle and the bass players William Parker and Peter Kowald from Germany accompany the film. Shot on 16 mm, this film remains one of a kind until today. Some of the recorded musicians have passed away - their spirits live on.

This film is a documentary composition of new jazz, New York as the city that generates it, and the musicians playing it. The thoughts of the saxophonist Charles Gayle and the bass players William Parker and Peter Kowald from Germany accompany the film. Shot on 16 mm, this film remains one of a kind until today. Some of the recorded musicians have passed away - their spirits live on.

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.

A video collage centering around flying drops, in space and on earth, along with coloured rivers, a sense of curiosity, joy and hommage. Watching extreme summer weather, outside the filmmaker's window under construction in Berlin inspired the impromptu video. Her scenery and sound recordings are intertwined with memories of selected film-, video and photo materials from colleagues and agreeable archives. Nature sound combined with Paul Hubweber's Trombone Variations and the vocal music piece Neptune's Bellows by trio Sverdrup Balance tie all elements together.

A young woman is fed up with the usual consumer's television and begins to make her own television, or more correctly, closevision. She is now a reporter who wanders around Berlin with her camera and 'telecasting apparatus' on her back. Her livingroom has been transformed into a studio and here the different programs are assembled and aired: statements, interviews, realistic and phantastic programs.

Omnibus film about fear of war.

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.