Holger Meins

은 1960년대 말 독일 적군파(RAF)를 탄생시킨 정치적 급진주의의 연대기를 다루고 있다. 독일의 혁명 테러리스트 그룹인 독일 적군파는 좌파 시사잡지인 ‘콩크레트’(Konkret)의 기자였던 울리케 마인호프와 그의 학생운동 후배인 안드레아스 바더를 중심으로 구드룬 엔슬린, 독일 필름&TV 아카데미의 학생인 홀거 마인츠와 변호사인 호르스트 말러에 의해 결성되었다. 영화는 68혁명의 시기부터 적군파가 비극을 맞이하게 되는 1977년 가을까지의 아카이브 푸티지로만 재구성 되었다. 특히 고다르, 파스빈더, 안토니오니를 포함한 당시 시네아스트들의 푸티지와 독일 필름&TV 아카데미 작품들은 이 비극적 연대기를 감동적인 울림으로 전한다. (2015년 7회 DMZ국제다큐영화제)

Film by a student collective of the dffb.

Gerd Conradt films men carrying a red flag in a relay race through Berlin, to hoist it on the balcony of the current Mayor’s seat. A cinematic experiment based on Eadweard Muybridge, Andy Warhol and New American Cinema. A study in men, movements and a symbol. This is the 7th part of this series of film exercises. The other 6 parts were staged by Harun Farocki (Part 1), Carlos Bustamante (Part 2), Helke Sander (Part 3), Holger Meins (Part 4), Wolfgang Petersen (Part 5), Philip Werner Sauber (Part 6).

Instructions on how to make a Molotov Cocktail

West­ern for the SDS por­trays the de­vel­op­ment of the left as a learn­ing pro­cess among wo­m­en who shar­p­en their aware­ness in the move­ment but cont­in­ue to have no say. The con­tro­ver­sy sur­round­ing the film is shown in the DFFB week­ly news­reel Re­quiem for a Com­pany. The West­ern was con­fis­cat­ed by the ad­min­is­tra­tion, and eigh­teen stu­dents who sid­ed with Straschek were ex­pelled from the acade­my. The film was considered lost until its rediscovery in 2018.

Clearly influenced by Brecht and Jean-Marie Straub, criticizes the reduction of human relations to economic relations as well as the US imperialism in Vietnam.

Clearly influenced by Brecht and Jean-Marie Straub, criticizes the reduction of human relations to economic relations as well as the US imperialism in Vietnam.

Film announcing the November 4, 1968 demonstration and urging demonstrators to be prepared to fight.

“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

I was on a ship – this sounds like a novel: I had just embarked for Venezuela on June 2, 1967 as the Shah of Iran was arriving in West Berlin. There were protests, a student was shot, and a new form of opposition movement came into existence. The idea for this film came to me while I was still aboard the ship. The film is structured like a commercial. The film takes a metaphor literally: words can become weapons. However, it also shows that these weapons are made of paper. The weapon spoiled everything for the Shah and his wife, they are wearing paper bags on their heads with faces drawn on them – the kind of bags worn by Iranian students during demonstrations to hide their identity from the Savak, the Iranian Secret Service. When I showed this film to the audiences in the late 60s, it was highly praised. I think people understood then that over obviousness is also a form of irony. This capacity was lost a few years later. I think it's coming back today. –HF

Scenes from Berlin: Kids playing football, a man tries to light a fire in his stove, a film team sets up a shot in a park, students discuss politics.

A concise blast of feminist film making, Sander's first film is a tense yet playful four minute short that dissects a typical urban scene at a bus stop on a busy street in Berlin.

A concise blast of feminist film making, Sander's first film is a tense yet playful four minute short that dissects a typical urban scene at a bus stop on a busy street in Berlin.

Twelve short scenes of the life of an elderly homeless person, Oskar Langenfeld, in Berlin.

Twelve short scenes of the life of an elderly homeless person, Oskar Langenfeld, in Berlin.

Twelve short scenes of the life of an elderly homeless person, Oskar Langenfeld, in Berlin.

Short thriller about an older woman and an escaped convict.