Ingrid Oppermann

When a villain named "Der Schut" terrorizes the constituents of Albanian country, which he rules, heroic Kara Ben Nemsi and his sidekick are the only ones who can stop him.

A young woman takes the train to Berlin. She wants to kill her friend Wolf, a theater actor. When the woman meets him, he tells her about his weird wife.

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

A film about the time of the blast furnaces – 1917–1933 – about the development of an industry, about perfect machinery which had to run itself to the point of its own destruction.

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.

No description available.

“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 worker is sitting at a conveyor belt on which light bulbs are coming in at regular intervals. He takes the light bulbs from the conveyor belt and inserts them into a testing device. The light bulbs light up briefly and bathe the scene in glistening light. The worker puts the light bulb back on the conveyor belt, looks directly into the camera and shouts against the noise of the machines: "We create wealth."

Experimental feature about a woman getting involved in radical politics.

An educational film about an aspect of political economy. The concepts of use value, barter value and labor as a commodity are the subjects; they are intended to introduce the process of understanding the theory of value of work and the law of values, alienation and fetish.

This short snippet of silent 8 mm film was filmed by Ingrid Oppermann in West-Berlin, possibly close to her apartment in Kurfürstenstraße, where Harun Farocki’s The Words of the Chairman (1967) was shot. The snow that is reflected in the shop window indicates that it must have been the Winter of 1969/70.

Omnibus film about fear of war.

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.

Straschek's film points to the gap between workers and intellectuals and describes the "difficulties of the revolution" in a biting and witty way.

A female student laments the role of women in the student movement. Her boyfriend fears that she might soon reject socialism and turn into a feminist. He reaches for the book in which Lenin's position on women's issues is presented in the most detail, Clara Zetkin's "Memories of Lenin".

A dryly humorous instructional film from West Germany about how to use an Arriflex 16BL camera.