Harun Farocki

Clara and Hans are left-wing terrorists, who are chased by the police since almost fifteen years. The puberty of her increasingly rebellious daughter Jeanne imposes a threat on their security, when she falls in love with a boy, that she has met on the beach. (imdb)

he first of Farocki's films that had left an impression in the German cinéast scene opens with a dramatic and destructive gesture. During a long shot one sees, in close up, the author who sits at a table in a plain room. While he reads a Vietnamese's witness statement in a flat voice, his eyes meet the camera several times.... (haussite.net)

In this wry documentary, made by a long-time resident in Germany, the German national tendency to plan, rehearse and analyze everything before taking any action is rather humorously explored. The filmmaker demonstrates that no activity is exempt, whether it is lovemaking, driving, or (more logically, perhaps) medicine or police work. (All Movie Guide)

Nina, an end-of-teenage orphan with mental problems, starts a new job as a garden cleaner when she meets Toni. They fell in love with each other, but soon Toni starts betraying Nina. In the meantime, Francoise is picked up at a psychic department of a Berlin hospital by her husband, Pierre. After seeing Nina, Francoise believes that she has found her kidnapped daughter Marie, but neither Toni nor Pierre believe her. Nina is unsure about what to think... (imdb)

The primary focus of this documentary is on the process of perception and how it affects our understanding of historical facts. The means the director has chosen is to use aerial reconnaissance photos of the Auschwitz concentration camp from the time of World War II and from the 1970s, to see what expert CIA photo analysts can make of them. (All Movie Guide)

What Farocki Taught is a stubborn film, containing a perfect replica, shot-for-shot, in color and English, of Harun Farocki's 1969 b/w German film 'Inextinguishable Fire' - about the production of Napalm, the abuses of human labor, and filmmaking. (imdb)

In a strange story based on a real-life event, this slow-paced experimental film by Harun Farocki deals with the death of a man's wife and its subsequent and lengthy cover-up (All Movie Guide)

Scenes from the Vietnam war are enacted by Asian and white actors, captioned, and juxtaposed with a slow-paced commentary that gives time for reflection on the message conveyed (All Movie Guide)

In the summer of 1996, we filmed application training courses in which one learns how to apply for a job. School drop-outs, university graduates, people who have been retained, the long-term unemployed, recovered drug addicts, and mid-level managers - all of them are supposed to learn how to market and sell themselves, a skill to which the term 'self management' is applied. The self is perhaps nothing more than a metaphysical hook from which to hand a social identity.

The film follows the negotiations between a mid-sized company and a venture capital firm. The company is looking for capital to start production on its invention. Farocki limits himself to observing events without comment. He has edited together documentary footage of the two meetings that resulted in a contract. It's a microscopic look at one cell of today's economy; an ethnographic portrait of a commonplace business dealing.

In As You See, Farocki searches for those instances and facts in the history of technology that have been overlooked or ignored, also exploring the ambivalent relationship between technologies developed for civil use and those designed for military purposes. (arttorrents.blogspot.com)

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of Erkennen und Verfolgen, which continues the deconstruction of claims to visual objectivity

According to Harun Farocki, today's photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life - the "still life". The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary "still life": a cheese-board, beer glasses and an expensive watch.

A advertising agency tries do sell a concept to a store named "Eyedentity".

The industrial development in the interwar period (1917-1933) and a perfect war machine which was developed to reach its own destruction. It is an essay on the self-destructive character of capitalism and the use of the arms industry as an escape valve for its production

A film composed of images from prisons. Quotes from fiction films and documentaries as well as footage from surveillance cameras. A look at the new control technologies, at personal identification devices, electronic ankle bracelets, electronic tracking devices. (Harun Farocki)

Farocki documents the methods of direction of Jean-Marie Straub, who had been his teacher, mentor and model, and Danièle Huillet, during preparations for Class Relations, the film based on Franz Kafka's unfinished work.

This short film interprets some statements from Lin Piao about Mao Tse Tung. It takes a metaphor literally: words can become weapons. (imdb)

Summer in the GDR in 1980. Barbara, a doctor, has submitted an application to emigrate to the West. She is punished by being posted away from the capital to a hospital in a small town. Jörg, her lover in the West, is busy planning her escape via the Baltic Sea. It's a waiting game for Barbara. Her new flat, the neighbours, summer and the countryside no longer hold any charms for her. (mubi.com)

n Comparison revisits issues explored in the director's 2007 two channel installation Comparison Via a Third. Spanning continents and cultures, the film focuses on the brick in its many contexts, from the collective efforts of a community building a clinic in Burkina Faso, through semi industrialized moldings in India, to industrial production lines in Germany, France, Austria and Switzerland... (imdb)

A disfigured concentration-camp survivor, unrecognizable after facial reconstruction surgery, searches ravaged postwar Berlin for the husband who might have betrayed her to the Nazis. (imdb)

An examination of how the Holocaust is remembered, a fable of ghosts recalling their former lives and two Internet lovers haunted by past events form the moving and wide-ranging vid-shot triptych, "Memories (Jeonju Digital Project 2007)," helmed by the rarefied Euro trio of Harun Farocki, Pedro Costa and Eugene Green. (Variety)

Respite is set in Westerbork, a transit camp for the deportees to Bergen-Belsen and Auschwitz. Powerful images are captured after the SS officer Gemmeker ordered production of a film about the camp. An inmate, the German-born Jew Breslauer, filmed scenes of work, leisure and a train leaving for the death camps with a 16mm camera. (KG)

The story of people who have long since been ignorant of how many millions there are in the lottery jackpot or that there is now a "super number". People who don't know the Federal Chancellor's name or how many television stations there are. A story of people who just couldn't care less about that. They meet each other in an anonymous station buffet: Tom, falling apart, worn out... (german-films.de)

Documentary on Peter Lorre's career.

Interdisciplinary studies put into practice is a plane on which HaF's interests and mine coincide. Ideas of fictional research projects in films emerge very early on, or of film as research device, allowing people from different disciplines to come together and discover something, to pursue a line of thought, or just be adventurous. (Ingemo Engström)

Senior staff at a designing company discuss a new corporate office concept in meetings.

This experimental documentary on women's work focuses on the labor involved in creating a nude photograph of a woman for a slick Playboy type pornographic magazine. (imdb)

Farocki revisits the executive trainer from his earlier “Die Schulung” (Indoctrination, 1987), this time holding a seminar with ex-GDR employees of a West German construction company. (letterboxd)

In the documentary INTERFACE media artist and director Harun Farocki examines his own media work and explores what it means to work with existing imagery rather than producing one's own, new images. (imdb)

Cinema’s onscreen worlds have always borne an indexical bond to the real. What happens when computer-generated video game images usurp film as the predominant medium of visual world-making? How does one’s relation to onscreen heroes shift when we no longer identify with real bodies? Harun Farocki’s four-part Parallel I–IV (2012–14) takes up these questions, tracing how, in just over 30 years, video games have developed from two-dimensional schematics to photorealistic environments.