As always, the screening takes place in the dark. Only the movie theatre has become a bit smaller. There’s only room inside for two hands. In order to see the film, meaning in this case to sense and feel it, the viewer (user) must guide his or her two hands into the movie theatre by way of the entrance. The tactile reception stands against the deception of voyeurism. For as long as the citizenry settles for the reproduced copy of sexual liberty, the state is spared the sexual revolution.
A red flag is carried through the busy streets of Berlin by a team of relay runners. The procession takes the West to its final destination in Berlin-Schöneberg. Under the astonished eyes of passersby, the final runner raises the red flag on the balcony of the city hall building, the seat of the government of West Berlin.
Photographic testimonials of clashes during the Chiefs of State conference at Punta del Este. Counterpoints between presidents, students and repressive policemen. This is the beginning of the cine militante in Uruguay: an urgent and highly influential film that became an instant emblem of the era, embraced by the international student movement.
June 10, 1968. After the end of a long strike in the Wonder factory in Saint-Ouen, a female worker is dissatisfied with the negotiated compromise and refuses to return to work in this a captivating document of political disagreement and historical reversal.
The film explores the connections between the army, science, and industry by looking at the example of Dow Chemical, which produced plastic wrap, but also napalm for the war in Vietnam. Using the diction of instructional films, Farocki explores the manufacture of weapons while asking: How easily can the structural elements of a vacuum cleaner be turned into a machine gun and vice versa?
Screened on 16 mm