Kairos-Film

Germany in Autumn does not have a plot per se; it mixes documentary footage, along with standard movie scenes, to give the audience the mood of Germany during the late 1970s. The movie covers the two month time period during 1977 when a businessman was kidnapped, and later murdered, by the left-wing terrorists known as the RAF-Rote Armee Fraktion (Red Army Fraction). The businessman had been kidnapped in an effort to secure the release of the orginal leaders of the RAF, also known as the Baader-Meinhof gang. When the kidnapping effort and a plane hijacking effort failed, the three most prominent leaders of the RAF, Andreas Baader, Gudrun Ensslin, and Jan-Carl Raspe, all committed suicide in prison. It has become an article of faith within the left-wing community that these three were actually murdered by the state.

A young German woman searches for happiness, liberation, and independence in the illusive wake of a transformative national recovery.

The clownish security chief of a West German business is obsessed with protecting his factory from fancied and real breaches, especially from groups such as The Red Army Faction. Ferdinand's paranoia and methods can't be contained by his company. The sympathetically-drawn Ferdinand's ludicrous actions recall those of the cynical, disastrous axis between fascism and big business in 1930's Europe: satire of the rise of private security.

Roswitha runs an illegal abortion clinic in Frankfurt to support her student husband and children. When she is forced to close her practice she delves into political and social activism.

Gabi Teichert, a history teacher, is unhappy with the way history is portrayed in textbooks and is looking for an alternative, more practical approach to 'uncovering' the past, quite literally digging with the spade and dissecting books with hammers and drills.

A young circus director ends up going into television after her father, a trapeze performer, dies in a circus accident.

The Indomitable Leni Peickert is a loose, half-hour sequel to Alexander Kluge's second feature film, Artists in the Big Top: Perplexed. This shorter work, seemingly assembled from leftover footage from the longer film, continues the story of the circus owner Leni Peickert after she first abandoned her idea of a radical circus in favor of a job in television. It opens where the previous film left off, at a TV station where Leni and her friends have gathered as employees, attempting to infiltrate the corporate establishment with their own revolutionary ideas. This radicalism is somewhat undercut by the way that Kluge deliberately shoots down the low-cut blouse of one of these young revolutionaries, the camera eyeing her cleavage and then panning down, to the text she's reading, and then back up again, finding her sexuality ultimately much more interesting than her radicalism.

The third episodical film, after Deutschland im Herbst and Der Kandidat, in which notable German film makers reflect on the state of their country.

Combining fictional and documentary modes, the film takes a critical stance toward Frankfurt's public sphere and urban redevelopment. Despite the serious formal and political concerns of the film, Kluge's heightened sense of the absurd safeguards a reserve of utopian optimism.

Willi endeavors to survive in a world where annihilistic galactic battles rage, by taking a job at the centre of power. But it's the wrong side that he takes in this civil war...

A poignant film essay about 'superfluous people' facing up to a moment of crisis in their lives.

Outer space in 2034 is run by greedy corporations in a rundown bureaucracy. Two astronauts, who are not very smart, make their way with shady dealings, smuggling and spaceship wrecking.

At 91 years of age, Alexander Kluge is solidly regarded as a trailblazing figure in New German Cinema and the avant-garde. He remains active and curious about media, so it’s no wonder that he recently began experimenting with artificial intelligence. He has been exploring a particular programme developed in Munich for medical research, which he systematically strains in order to find his images at the farthest ends of the system's creative faculties. With these, Kluge plays in the same essayistic fashion beloved from his television work – historical footage and a plenitude of texts, comics, charts and cabaret. In short: facts and fictions freely intermingle.

An old building in Venice hosts an exhibition. A visitor walks through empty rooms discovering a fictionalized architectural space that functions like an abandoned theatre set. Inspired by Alexander Kluge’s oeuvre, this exploration attempts to de-construct the subjective experience and liberate the cinematic energy from the horror vacui of the display.

Made with an eye to the autumn of 1980 when the German parliamentary elections took place, The Candidate examines Germany’s history past and present and Franz Josef Strauß, the man who, as the CDU/CSU candidate, aspires to be elected to the most important political office in the land.

The emotion and feelings should not be confused with sentimentality. Emotion is ancient and more powerful than any artistic expression. The film observes young couples face difficulties while trying to move their love experiences clear decision making. A film full of ideas, details and associations, fictional scenes, documentary footage, archival materials and opera music.

A drama that strings together vignettes of events taken from everyday newspaper headlines. Germans are shown in their reactions to World War II, minorities, and the elderly. A side plot follows a meeting between former West German Chancellor Helmut Schmidt and East German leader Erich Honecker.

Alexander Kluge follows his father, a doctor, in his daily activity.