无对白纪录片《辛德勒的建筑》(2007)展示奥地利裔美国建筑师鲁道夫•辛德勒(Rudolph Schindler)于1921至1952年间设计的四十栋建筑。形式上以一连串固定镜头制造高潮效果，静态影像的视觉刺激被略微倾斜的镜框强化，单独影像的衔接逐渐在观众记忆和想象中建立空间环境的整体联系，而观众目光的寻找和探测过程则造成实际运动。辛德勒在加利福利亚州南部的先锋作品奠定了现代派建筑的基础，影片由此也成为对洛杉矶城市生活的更新刻画。
鲁道夫•辛德勒(1887 – 1953) 出生于维也纳，从师于奥托•瓦格纳和阿道夫•路斯，后受到美国设计师弗兰克•劳埃德•赖特(Frank Lloyd Wright)的启发于1914年前往芝加哥。辛德勒作品的重点在于内外空间的融合，其复杂的整体和具有强烈表现力的部分结构相互交织。他一共设计了四百余座建筑，其中150座得以实现建造，大部分是为思想进步的客户设计的廉价单户住宅。尽管辛德勒的建筑材料等随时间变化，但其设计的基本原则和空间特征仍具备稳定性。这也适用于他后期继续发展空间概念的建筑作品，例如从四十年代中期到五十年代期间创作的透光房屋。

This film shows the last eight buildings Louis H.Sullivan ("form follows function") has designed and furnished at the end of his career. He consistently draped his buildings with facades that no longer had a load-bearing function as a form of free expression. From one building to the next, both inside and outside, he varied and perfected his modular ornamental design in brick, steel, plater, terracotta, glass, ceramics, mosaic, marble, light, relief, stencil designs, wood and metal.

The ‘Casa do Povo’ cultural centre in São Paulo, an icon of the secular Jewish workers’ movement: a crumbling theatre flanked by staircases, entryways and corridors. Construction noise drones away in the background, clinking crockery, a broom sweeping over tiled floors, an expressive façade of countless adjustable panes of glass covered by a patina. It’s October 2016 and a group of young people are preparing a preview of Bickels [Socialism]. The venue is to form a prologue to the completed film, which tours 22 buildings in Israel designed by Samuel Bickels, most of which for kibbutzim. Dining halls, children’s houses, agricultural buildings, bright structures inserted into the Mediterranean landscape with great ingenuity. An architecture with a sell-by date: That many are now empty or have been repurposed at best is linked to the decline of the socialist ideals they embody.
Paintings by Jewish artist Meir Axelrod from the Crimea in the 1930s form the epilogue. It tells the tragic story of the Vio Nova kibbutz, which first foundered under the British Mandate in Palestine and later fell victim to Stalinism, before being liquidated entirely under the German occupation.

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电影以水声开始。莱茵河另一边的一个建筑工地：曼海姆发电厂9号楼。开幕式计划于2013年举行。
2013年至2018年期间，部分Kunsthalle Mannheim项目的拆除和重建工作结束后，经过多年的建设。从弗里德里希广场对面的喷泉开始，埃米霍兹的相机靠近建筑群。从宏伟的Jugendstil大厦到1983年由Hans Mitzlaff扩建的一条通道；它建造的雕塑似乎试图在一个不够大的空间中找到自己的位置。这座建筑不适合绘画：它根据自己的喜好投射光和影。在中间，埃米霍兹展示了以直角交叉的街道、桥梁和天桥，曼海姆市。参考建筑师格坎，马格和合作伙伴的愿景：在拆除和建设阶段之后，一个由立方体，通道和梯田组成的综合体出现并形成一个内部。一块石头和一个钟在空中摆动：“瞬间的移动空虚”是装置的名字。金属网牢牢地抓住了新的Kunshalle——从外面看是一个强大的立方体。
The film begins with the sound of water. A building site on the other side of the Rhine: Block 9 of Mannheim Power Station. The opening was planned for 2013.
Years of Construction follows the demolition and reconstruction of part of the Kunsthalle Mannheim between 2013 and 2018. Starting from the fountains in the Friedrichsplatz opposite, Emigholz’s camera approaches the building complex. A passage leads from the imposing Jugendstil edifice to the 1983 extension by Hans Mitzlaff; the sculptures it was built for seem to be trying to find their place in a space not big enough for them. The architecture isn’t suitable for paintings: it casts light and shadow according to its own whims. In between, Emigholz shows streets that cross at right angles, bridges and overpasses, the city of Mannheim. References to the vision of architects Gerkan, Marg and Partners: after the demolition and construction phase, a complex of cubes, passages and terraces appears and forms an interior. A stone and a clock swing through the air: “The Moving Emptiness of the Moment” is the name of the installation. Metal meshing holds the new Kunsthalle – a mighty cube when seen from the outside – firmly in its grip.

In the 21st part of his Photography and beyond series, Heinz Emigholz projects as usual a series of structures into our brains and from there on to the screen: Airports, motorways and bus stops; department stores, market halls and warehouses; churches, cathedrals, sculptures and monuments. And a prison, a stadium, an embassy, a semi-detached house. These far-flung architectural works generate a frame story: The ephemeral, capitalistic, religiously melancholy and moralising world gets caught up in its own sense of purpose with far reaching consequences. Even after the atom bomb is dropped, as narrated by a vaguely familiar voice, the viewer waits for the documentary framing of an architectural design. Yet this frame does not exist, perhaps it never even did. What we have before us is a flat screen, with the illustrations from advertising circulars floating across the image as proof. Front and back merge to form the actual spatial and temporal construction, whose architect is none other than the viewers themselves. As the final part of the series, Airstrip offers no big finale of architectural film history, but rather a brilliant desert landscape full of unexpected new beginnings. (Berlinale 2014)

Heinz Emigholz 热衷以光影去纪录建筑，本片选自大型计划「超越摄影」最新的「街市风景」系列。在乌拉圭首都 Montevideo, 一名导演约见临床心理学家，倾吐内心的困扰，由德国战后的童年经历谈起，然后谈到他的电影创作和他遭遇的问题。两人进行着马拉松式对话，而 Emigholz 不只要观众洗耳聆听，还要用眼观看，镜头里不停转换的背景，出现不同的特色建筑与街景，成了同样重要的主角，也在跟喋喋不休的角色进行着另一种对话。（41届香港国际电影节）

入围第70届柏林电影节奇遇单元。