Oskar Sala

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A group of German boys are ordered to protect a small bridge in their home village during the waning months of the second world war. Truckloads of defeated, cynical Wehrmacht soldiers flee the approaching American troops, but the boys, full of enthusiasm for the "blood and honor" Nazi ideology, stay to defend the useless bridge. The film is based on a West German anti-war novel of the same name, written by Gregor Dorfmeister.

Near the end of WWII a lone U-Boat is sent from Germany to Japan carrying plutonium needed for a Japanese A-Bomb. During the long journey, news arrives on the radio that Hitler killed himself and Germany has surrendered. This causes a rift in the crew, the Nazi Party members wanting to continue to Japan since they are still at war, while the others just want to surrender or return home.

A strangler is loose on a British estate, and he not only strangles his victims but brands an "M" onto their foreheads before he decapitates them.

The evil Dr. Mabuse develops a death ray with which he threatens the world.

A series of poems.

Snow White and her sister Rose Red try to help two princes stop an evil dwarf from robbing the royalty of their wealth.

The countess is married, and the ghosts are still in the Spessart. Her husband becomes an astronaut and the story involved time travelling and space travelling starts.

The order comes in the summer of 1941 from propaganda minister Joseph Goebbels himself: The best animators are summoned to Berlin. Their task: Producing feature-length cartoons in ‘Disney-Quality’ with the newly founded ‘Deutsche Zeichenfilm GmbH’. To get trained, the Disney movie “Snow White” is re-traced frame by frame. After the final victory, one new feature-length production of quality shall be released every year from 1947 onwards. – that is the plan. Only in 1943, the first production is completed: “Armer Hansi” a 17-minute-long colour movie, realized with the effortful Multiplane-technology. The second film by the ‘Deutsche Zeichenfilm’ is only completed in 1946 – by DEFA. In the territories occupied by Germany, cartoons are produced as well, sometimes harmless ones, sometimes propagandistic ones. With excerpts from animated movies, life-action film documents, and witness reports by contemporaries, this documentary draws a picture of the cartoon production in the third Reich.

A short, impressionistic documentary about the extremely precise process behind the creation of an autoclave (a reaction container) for a nuclear power plant. Otherworldly electroacoustic soundtrack by Oskar Sala.

A look at the career of experimental music master Oskar Sala.

An audiovisual experiment that shows how oil is refined into gasoline and ultimately powers cars and other vehicles, accompanied by classical music and experimental synthesizer sounds. Filmed in the Libyan desert, the film traces the path and development of the gasoline, from the extraction of oil as it is drilled in the Libyan desert to the pump at the gas station, making road construction machines dance and convertibles roar through the Spessart forests. This film also drew Herbert von Karajan and Leo Kirch's attention to Hugo Niebeling, in which the director has road bulldozers "dance" to the music of Vivaldi.

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Short film about the dangers of winter traffic on the German Federal Railways

Short artistic documentary film showing a match factory

Short by Ferdinand Khittl commissioned by BASF about the use of magnetic tape.

A German Film award winning documentary about the story of chemistry.

This short film portrays people that live near a highway

A short documentary on life in Iceland.

Manfred Durniok (1934-2003), German film director and producer, shot his first short documentary films in the 1950s and 1960s. At the end of the 50s he got to know Oskar Sala (1910-2002) and took advantage of the composers electro-acoustic and musical skills in many of his subsequent black and white motion pictures. Thus, Durniok could concentrate on images and editing sequences of his movies without having to worry about live sound. The soundtrack subsequently created by Sala has always been a free, electronically-abstract composition with a strong rhythmic and tonal reference to sequence and image content.