An homage to Harun Farocki, who left us too soon. I hope this memory of a wonderful summer night in Berlin testifies to his openness and generosity.

This Harun Farocki film shows the creation of a picture on which the artist worked for nine weeks. Sarah Schumann lives in Berlin and is a pioneer of the feminist scene. 1977 together with several other artists she organized the first large exhibition in which only work by women was shown. Sarah Schumann paints figuratively, that is to say she has developed a technique using layers of collage and painting worked on top of and into one another. Regarding a picture becomes an adventure. (harunfarocki.de)

Among the "political" filmmakers who got their start in the student movement, Harun Farocki is perhaps the most formally brilliant and conscious, and today he is exploring new documentary territory with his video installations.

A West Berlin doctor, married with a two-year-old child, leaves her husband to go to Munich to work in the birth clinic of a hospital. Her husband doesn’t know that she’s pregnant with their second child. Will she have to choose between motherhood and her career?

A behind the scenes film of Class Relations.

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.

Only the chosen few know this woman who started working as a secretary for the German Film and Television Academy (DFFB) on 13 February, 1966. The path of Helen’s career is paved with famous names – including that of Wolfgang Petersen, Holger Meins (who later became a member of the Red Army Faction) as well as directors Wolfgang Becker, Detlev Buck and Christian Petzold. All have fond memories of forgetting their troubles after having poured their hearts out over a cup of coffee in Helene’s office – for Helene was both friend and advisor to countless film students.

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.

Song of Ceylon was commissioned for the short-lived German TV-series Telekritik and broadcasted in 1975. In Telekritik documentary approaches were analysed and made available for a critique of contemporary TV, its aesthetics and modes of production. Other authors for the series include Hartmut Bitomsky, Rainer Gansera and Klaus Wildenhahn.In the 30-minute movie, Farocki shows and comments on excerpts from the film Song of Ceylon by Basil Wright (and a short segment of Eisenstein's Mexico-fragments). Farocki's voice-over describes part of the movie, focussing on details and montage. He also uses didactic and descriptive drawings and intertitles to confront the classic documentary and its stylistic approaches with contemporary TV.

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