Alexander Kluge

A commentary on Aby Warburg’s Bilderatlas Mnemosyne, Panel B, Picture 9.

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Homage to Anselm Kiefer.

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An homage to Francis Bacon and Georg Baselitz.

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With the painter Gerhard Richter.

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An homage to Max Horkheimer.

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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.

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Kluge compares with three screens with clips, stills, storyboards of the two works.

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Homage to Anselm Kiefer.

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Alexander Kluge's avant-garde hommage to Manoel de Oliveira's surreal opera-musical film "The Cannibals".

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A reinvention of the Greek myth of Orpheus and Eurydice, set in contemporary Manila as a rock musical.

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An homage to Hans Richter for the 35th anniversary of his death in 2021.

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Video #1 of Finite Rants, a series of eight visual essays commissioned by Fondazione Prada and curated by Luigi Alberto Cippini and Niccolò Gravina.

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Adorno is not just a theorist and philosopher, he was also a composer and student of Alban Berg in Vienna. The text of the short song goes: “What’s driving there, on a cart and stretches out his long trunk?/ It is a mammoth! It is a mammoth! It is a mammoth which wants to go home.”

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Documentary showing the coaches of the French Revolution and more.

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Footage of Donald J. Trump visiting Vladimir Putin et al. overlain with circus performer animatronics.

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Documentary short about the stage play "Wessis in Weimar"

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Recordings of elephants in the wild and various graphs lain atop.

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Animatronics, elephants, puppets, politicians, and more juxtaposed using three screens.

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On the one hand, the beyond-Tropicália surreal, wild, ecstatic universe of Khavn de la Cruz, the Philippines’ internationally most venerated underground filmmaker. On the other, the Frankfurt School dialectics of Alexander Kluge, self-proclaimed arrière-guard eternal of 1960s modernist moviedom, Gandalf of all essay cinema. For Happy Lamento, Kluge mixed some of his weirder TV skits on electricity, the circus, revolution and early cinema (featuring Fassbinder-regular Peter Berling, theatre genius Heiner Müller, and DaDaism’s last man standing, Helge Schneider, among others) with some of the more outrageous scenes from Khavn’s 2016 Ang Napakaigsing Buhay Ng Alipato. Some 2017 G20 shots of Merkel and Trump et al inject the already heady brew with current affairs urgency.

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Triptych collage film regarding the history of revolution.

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Collage film regarding astronomy.

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On the subject of circuses during wartime, illustrations and more are shown.

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An opera film by Alexander Kluge

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Anselm Kiefer is one of the most important painters of the present, Alexander Kluge's television interviews are legendary. Over several years, the two have met again and kept detailed discussions. With their youthful joy of associating, they talk about Kiefer's career and his way of working, about sources of inspiration and materials, about myths and of course history. Between the thematic blocks, Alexander Kluge switched cinematic miniatures, in which he spun common ideas and deepened individual aspects. A great dialogical artist portrait.

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Short collage film regarding the history of philosophy.

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A collaborative essay film regarding Fritz Lang.

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Directed by Alexander Kluge

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In conversations with his friends and colleagues, among them Bernd Upnmoor, Helmut Herbst, Alexander Kluge, Klaus Wyborny, Daniel Kothenschulte and Helge Schneider, Ulrike Pfeiffer takes us on a journey into the broad expanse of Nekes' cabinet of wonder and his cinematic works. At the same time, this documentary provides an insight into the history of experimental film in Germany.

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In An Opera of the World, Malian scholar and filmmaker Manthia Diawara reflects upon the refugee crisis and the relationship between Europe and Africa. The film revolves around a 2008 performance of Bintou Were, a Sahel Opera, by Zé Manel Fortes with a libretto by Koulsy Lamko, in Bamako, around which Diawara builds a story about migration, interweaving interviews with documentary and archival footage. In the course of the film, one crosses into the world of opera from the tradition of sung wisdoms and sentiments, which has characterized West African culture for centuries. If opera is often understood as an über-European art form—the Gesamtkunstwerk invoked by Richard Wagner—Diawara chooses to meditate on its movement or migration as opposed to its expansion or totality. What happens when opera moves south, from Europe to Africa, just as so many people from that continent are moving north, in search of better lives?

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Anselm Kiefer is one of the most important painters of the present, Alexander Kluge's television interviews are legendary. Over several years, the two have met again and kept detailed discussions. With their youthful joy of associating, they talk about Kiefer's career and his way of working, about sources of inspiration and materials, about myths and of course history. Between the thematic blocks, Alexander Kluge switched cinematic miniatures, in which he spun common ideas and deepened individual aspects. A great dialogical artist portrait.

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A collaborative essay film regarding Fritz Lang.

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Alexander Kluge - October 22 2016

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Alexander Kluge's 2012 Frankfurt lectures on poetics.

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German talkshow hosted by Richard David Precht, a well known german philosopher and publisher, in which he speaks with a guest about a topic from culture, science, economy or politics in every episode

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Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).

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Documentary about filmmakers of the New German Cinema who were members of the legendary Filmverlag für Autoren (Film Publishing House for Authors). Among them are Werner Herzog, Rainer Werner Fassbinder, and Wim Wenders.

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The film is both a representation of the installation elements (tiled mosaics of images projected on four walls and the ceiling of a gallery) and a record of the installation / performance, with footage of the installation in situ with Kluge seated within it reading out his texts. It's dedicated to Hans Richter and begins with an account of a 1975 meeting with the great experimental director, and goes on to reflect on the simultaneity of film history and the nature of art (the bond between epoch).

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A study of Alexander Kluge that also emulates his technique of seeking and linking. Kluge reads aloud, Kluge recounts, including stories from his childhood and youth, from the bombing of Halberstadt, his home town. “What you don’t understand as a child you will contemplate for the rest of your life.” Kluge does this as the author of films, books, TV programs. He has always had several professions at once. He is a legal advisor, director, author, founder of the television production company DCTP, and person in charge of its culture magazines. But if you think that these are all different jobs, you’re mistaken.

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A talk with Alexander Kluge and Jean-Luc Godard.

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A portrait of Manfred Pichota, played by Peter Berling, tells about the period in which he was the Führer's bodyguard.

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A meditation on the first 100 years of German cinema, featuring an assembly of German filmmakers.

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Since German Classicism, it has become customary to translate extreme, emotional events into a ballad, a popular form of song. This ‘Balladen Magazin’ brings Cossack lamentations, the horrors of the war in Chechnya, and the execution of the unfortunate Emperor Maximilian of Mexico, among others...

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Documentary about the twin sister Jutta and Gisela Schmidt. In the late sixties the two women rebelled against middle class society as if they gave vent to a new kind of art. They became active in the underground communist party KPD and showed a heart-felt interest in the colour red, the aesthetics of the revolution. Soon, though, the twins quit their experiments in Germany. They left their husbands and went to Rome, where they met the fabulously wealthy Paul Getty III, and soon things got really out of hand.

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The heart of the legs.

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Documentary aired on German television in 1989. Includes interviews with Adorno, Herbert Marcuse, Alexander Kluge and more.

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A 1970 TV discussion with Alexander Kluge.

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Documentary by Wilhelm Roth about the state of affairs of the Young German Cinema.

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Documentary about the current state of German cinema. Produced for German television.

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Annual awarding of the Grimme Awards.

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The Bambi, often called the Bambi Award and stylised as BAMBI, is a German award presented annually by Hubert Burda Media to recognize excellence in international media and television to personalities in the media, arts, culture, sports, and other fields "with vision and creativity who affected and inspired the German public that year", both domestic and foreign. First held in 1948, it is the oldest media award in Germany. The trophy is named after Felix Salten's book Bambi, A Life in the Woods and its statuettes are in the shape of the novel's titular fawn character. They were originally made of porcelain until 1958, when the organizers switched to using gold, with the casting done by the art casting workshop of Ernst Strassacker in Süßen.

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Alexander Kluge, the legendary German theorist and writer, student under Adorno and Horkheimer, a lawyer for the Frankfurter Schule, and paramount filmmaker of the New German Cinema is being interviewed by Sarah Morris in the recently finished but not yet utilized architecture of the controversial philharmonic space in Hamburg designed by Herzog and De Neuron: the Elbphilharmonie.

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Documentary showing the coaches of the French Revolution and more.

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Footage of Donald J. Trump visiting Vladimir Putin et al. overlain with circus performer animatronics.

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Recordings of elephants in the wild and various graphs lain atop.

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Animatronics, elephants, puppets, politicians, and more juxtaposed using three screens.

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On the one hand, the beyond-Tropicália surreal, wild, ecstatic universe of Khavn de la Cruz, the Philippines’ internationally most venerated underground filmmaker. On the other, the Frankfurt School dialectics of Alexander Kluge, self-proclaimed arrière-guard eternal of 1960s modernist moviedom, Gandalf of all essay cinema. For Happy Lamento, Kluge mixed some of his weirder TV skits on electricity, the circus, revolution and early cinema (featuring Fassbinder-regular Peter Berling, theatre genius Heiner Müller, and DaDaism’s last man standing, Helge Schneider, among others) with some of the more outrageous scenes from Khavn’s 2016 Ang Napakaigsing Buhay Ng Alipato. Some 2017 G20 shots of Merkel and Trump et al inject the already heady brew with current affairs urgency.

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On the subject of circuses during wartime, illustrations and more are shown.

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The woman in the battlefield.

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"Love is Passing Moment, Art is Eternal." This is the title of one of the earliest cinema melodramas from Russia. As early as the year of the Revolution, 1917, melodramas lured the majority of the public into the cinemas, a world that turned its back on every form of revolutionary utopias.

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A talk with Alexander Kluge and Jean-Luc Godard.

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Two-hour television documentary by Alexander Kluge and Meinhard Prill on the documentary filmmakers of the "Stuttgart school".

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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.

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

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The Cold War is peaking again in divided Germany in the early 1980s. How to deal with the upcoming nuclear annihilation shows this Alexander Kluge short.

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

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The third episodic film, after Deutschland im Herbst and Der Kandidat, in which notable German filmmakers reflect on the state of their country. A collage of documentary and dramatised sequences dealing with such topics as overkill, peace demonstrations, NATO arms policy, and life after the next war.

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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.

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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.

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Nine fictitious documentaries and films reflect the mood of late 1970s Germany, particularly the two-month period in 1977 when a businessman was kidnapped by the RAF (Red Army Faction). The kidnap had been made to orchestrate the release of the original leaders of the RAF, aka the Baader-Meinhof.

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Alexander Kluge documents the preparations for an exhibition on the Staufer dynasty.

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Alexander Kluge reflects on the medieval Staufer dynasty and draws a line from Emperor Barbarossa to Operation Barbarossa.

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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.

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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.

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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.

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Two women during WW2 living in a Hunsrück village embark on a trip to Vienna.

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Alice Schneider redecorates her house.

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