Undaunted by a commission to make a film about his mentors and aesthetic exemplars, the filmmaking team of Jean-Marie Straub and Danièle Huillet, Costa records with great sensitivity and insight the exacting process by which the two re-edit their film Sicilia!, discussing and arguing over each cut and its effect. Incorporating comments about the influence of figures as diverse as Chaplin and Eisenstein, about the ethical and aesthetic implications of film technique and such matters as rhythm, sound mixing, and acting. The film becomes a tour de force, immersing us in the mysteries of cinema as practiced by some of its greatest creators. Costa calls the film both his first comedy and his first love story.

Interview with Jean-Marie Straub and Danièle Huillet about their movie Klassenverhält

Six unused scenes from WHERE LIES YOUR HIDDEN SMILE? One of the more priceless of the "bagatelles" in this collection features a lounging Jean-Marie Straub who gives a non-stop disquisition on liberty and filmmaking while Danièle Huillet busies herself with laundry, and their dog Melchior frisks in and out of frame.

This is a fascinating documentary on the making of Klassenverhältnisse (Class Relations). Farocki is both an actor and a director of this documentary. The film focuses on the rehearsal of two scenes (the "missing photo in the bag" scene and the "I'm completely drunk and I'm going to ruin your life" scene) and the shooting of the first rehearsed scene.
Like Pedro Costa's beautiful film on Straub & Huillet, Farocki's take focuses on the meticulous, obsessive work of the authors while at the same time incorporating a cinematic pace akin to their films'.
Here we see not the final step (editing) but the very early phases of the construction of the film. While working with the actors, while making them repeat the same scene over and over, Straub & Huillet are actually beginning to envision the mise-en-scène. We thus have the rare opportunity to see two master film-makers as they start to make actual progress in the artistic concretization of the work.
It may help if you have seen Klassenverhältnisse before, but it's really not necessary in order to follow this fascinating film.

片中茱莉•柯尔泰的独白来自塞尚与乔亚希姆•加斯奎特的谈话录，镜头下的作品与涉及的画家都有些专业，而中译又不是很好，所以本片可能会让非艺术专业的人感到无所适从。(by -王嵘- )

1989 film directed by Jean-Marie Straub and Danièle Huillet

人类事务的全景与 "带着电影摄影机的人 "不期而遇。他的游乐场没有边界，他的好奇心没有限制。人物、情境和地点在人类生活中安营扎寨，人类既是观众，也是被观众。但这种人性的末日是什么？它们已经过去了吗？是现在还是未来？在等待的过程中，阿塔兰特号的宇航员们在他们永恒的梦想中与自己的形象在水泡中相遇。沿着公海上的汽船通道，这是一种爱抚，一种爱的象征。在镜子里，他手持相机，检查自己，总是不确定地确定，自己在那短暂、太短暂的时间单位内的捕捉。但我们学到的是，没有什么是永恒的。他们接触到的一切都会变成时间，变成行动、期待和希望，德墨忒尔提醒着熙熙攘攘的人类。片段的片段。以一种完全不可能的动作，做出躲避忧郁和游戏的姿态。克劳斯在火星上的剧院尚未开张，我们正忙着归档。而这出戏剧，除了人类，不可能有其他观众。