Jean-Marie Straub & Danièle Huillet

Gens du Lac (People of the Lake), 2018, Switzerland, HD, color, 4:3, 18 min.

Based on Gens du Lac, 2013 by Janine Massard.
L’Aquarium et La Nation (The Aquarium and the Nation), 2015, France, HD, color, 4:3, 31 min. 18 sec.
Based on Les Noyers De L’Altenburg (The Walnut Trees of Altenburg), 1948 by André Malraux.
Jean Renoir, La Marseillaise, 1938, film excerpt.
La Guerre d’Algérie ! (The Algerian War!), 2014, France, HD, color, 4:3, 2 min.

Based on Inexploré by Jean Sandretto.
Kommunisten (Communists), 2014, Switzerland/France, HD, color, 4:3, 70 min.

Based on Le Temps du mépris by André Malraux; with film excerpts from Workers, Peasants, 2001, Too Early/Too Late, 1981, Fortini/Cani, 1976, The Death of Empedocles, 1987, and Black Sin, 1989.
À propos de Venöse (Geschichtsunterricht) (Concerning Venice [History Lessons]), 2014, Switzerland, HD, color, 4:3, 22 min. 39 sec. Based on Maurice Barrès’ “La mort de Venise” in Amori et dolori. Opens with a scene from Chronicle of Anna Magdalena Bach, 1968.
Dialogue d’ombre (Dialogue of Shadows), 2014, France, HD, color, 4:3, 28 min.

Based on Dialogue d’ombres (Dialogue of Shadows) by Georges Bernanos.
Un conte de Michel de Montaigne (A Tale by Michel de Montaigne), 2013, France, HD, color, 4:3, 34 min.

Based on Michel de Montaigne’s “De l’Exercitation,” book II, chapter 6 in Essais (Essays).
La Madre (The Mother), 2012, Italy, HD, color, 4:3, 20 min. 9 sec. (1st version),
20 min. 9 sec. (2nd version), 19 min. 38 sec. (3rd version).

Based on Cesare Pavese’s “La madre” (The Mother) in Dialogues with Leuco.
Un héritier (An Heir), 2011, France, MiniDV, color, 4:3, 20 min. 23 sec. (1st Version), 21 min. 5 sec. (2nd Version).

Based on Au service de l’Allemagne (In the Service of Germany) by Maurice Barrès.
L’ Inconsolable (The Inconsoluble One), 2011, Italy, MiniDV, color, 4:3, 15 min. (1st version), 15 min. 17 sec. (2nd version).

Based on Cesare Pavese’s “L’inconsolabile” (The Inconsolable One) in Dialogues with Leuco.
Schakale und Araber (Jackals and Arabs), 2011, France, MiniDV, color, 4:3, 10 min. 43 sec. (1st version), 10 min. 35 sec. (2nd version).

Based on “Jackals and Arabs” by Franz Kafka.
O somma luce (Oh Supreme Light), 2010, Italy/France, HD, color, 16:9, 18 min.

Based on Paradiso, Divina Commedia (Paradise, Divine Comedy) “Canto XXXIII” by Dante Alighieri.
Joachim Gatti, 2009, France, HD, color, 16:9, 1 min. 30 sec.

Based on the preface to the Discourse on the Origin and Foundations of Inequality Among Men by Jean-Jacques Rousseau.
Corneille, 2009, France, MiniDV, color, 4:3, 26 min. 43 sec. (1st version), 26 min. 27 sec. (2nd version), 26 min. 55 sec. (3rd version). Based on Horace and Othon by Pierre Corneille and Das Verhör des Lucullus (The Trial of Lucullus) by Bertolt Brecht.
Le streghe – Femmes enter elles (Le streghe –Women amongst Themselves), 2009, France/Italy, 35 mm, color, 1.37:1, Dolby SRD, 21 min.

Based on Cesare Pavese’s “Le streghe” (The Witches) in Dialogues with Leuco.
Itinéraire de Jean Bricard (Itinerary of Jean Bricard), 2008, France, 35 mm, B&W, 1.37:1, Dolby SRD, 40 min.

Based on Jean-Yves Petiteau’s “Itinéraire de Jean Bricard” in Interlope la curieuse (Nantes), no. 9/10.
Le Genou d’Artemide (Artemide’s Knee), 2008, Italy/France, 35 mm, color, 1.37:1, Dolby SRD, 26 min. (1st version); 27 min. (2nd version).

Based on Cesare Pavese’s “La Belva” (The Beast) in Dialogues with Leuco.
Europa 2005, 27 octobre (Europa 2005, 27 October), 2006, France, MiniDV, color, 4:3, 10 min. 30 sec.
Quei lori incontri (These Encounters of Theirs), 2006: Italy/France, 35 mm, color, 1.37:1, Dolby SRD, 68 min.

Based on Dialogues with Leuco by Cesare Pavese.
Une visite au Louvre (A Visit to the Louvre), 2004, France, 35 mm, color, 1.37:1, Dolby SR mono, 48 min. (1st version), 47 min. (2nd version). Based on Joachim Gasquet’s “Ce qu’il m’a dit” in Cézanne; includes an unused take of the first shot of Workers, Peasants. The two versions of the film are shown one after the other.
Dolando, 2003, Italy/France/Germany, 35 mm, color, 1.37:1, Dolby, 7 min.
Umiliati (Humiliated), 2003, Italy/France/Germany, 35 mm, color, 1.37:1, Dolby, 7 min. Based on Women of Messina by Maurice Barres.
Operai, Contadini (Workers, Peasants), 2001, Italy/France, 35 mm, color, 1.37:1, 123 min.

Based on Women of Messina by Maurice Barres.
Il viandante (The Wayfarer), 2001, Italy/France, 35 mm, B&W, 1.37:1, 5 min.

Re-edited sequence from Sicilia!
L’arrotino (The Knife Sharpener), 2001, Italy/France, 35 mm, B&W, 1.37:1, 7 min.

Re-edited sequence from Sicilia!
Sicilia!, 1999, Italy, 35 mm, B&W, 1.37:1, 66 min.

Based on Conversazione in Sicilia (Conversations in Sicily) by Elio Vittorini.
Von heute auf morgen (From Today until Tomorrow), 1997, Germany, 35 mm, B&W, 1.37:1, 62 min.

Based on Von Heute auf morgen (From Today until Tomorrow) by Arnold Schoenberg.
Lotharingen!, 1994, Germany/France, 35 mm, color, 1.37:1, 21 min.

Based on Colette Baudoche. Histoires d’une jeune fille de Metz (Colette Baudoche: Story of a Young Girl from Metz) by Maurice Barrès.
Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948
(The Antigone of Sophocles after Hölderlin’s Translation Adapted for the Stage by Brecht 1948), 1992, Germany, 35 mm, color, 1.37:1, 100 min. Based on Friedrich Hölderlin’s translation of Sophocles’ Antigone, adapted for the stage by Bertolt Brecht.
Cézanne. Dialogue avec Joachim Gasquet (Cézanne. Conversation with Joachim Gasket), 1990, France, 35 mm, color, 1.37:1, French version, 51 min., German version, 63 min.

Based on Joachim Gasquet’s “Ce qu’il m’a dit…” in Cézanne.
Schwarze Sünde (Black Sin), 1989, West Germany, 35 mm, color, 1.37:1, 42 min.

Based on The Death of Empedocles by Friedrich Hölderlin.
Der Tod des Empedokles oder: Wenn dann der Erde Grün von neuem euch erglänzt (The Death of Empedocles, or When the Green of the Earth Will Glisten for You Anew), 1987, West Germany, 35 mm, color, 1.37:1, 132 min.

Based on The Death of Empedocles by Friedrich Hölderlin.
Klassenverhältnisse (Class Relations), 1984, West Germany/France, 35 mm, B&W, 1.37:1, 130 min.

Based on Der Verschollene (Amerika) by Franz Kafka.
En rachâchant, 1983, France, 35 mm, B&W, 1.37:1, 7 min.

Based on Ah! Ernesto! by Marguerite Duras.
Zu früh, zu spät – Trop tôt, trop tard – Troppo presto, troppo tardi, 1981, France/Egypt, 16 mm, color, 1.33:1, 100 min.
Dalla nube all resistenza (From the Cloud to the Resistance), 1984, Italy, 35 mm, color, 1.37:1, 105 min.

Based on Dialoghi con Leucò (Dialogues with Leucò) and La Luna e i Falò (The Moon and the Bonfires) by Cesare Pavese.
Toute révolution est un coup de dés (Every Revolution is a Throw of the Dice), 1977, France, 35 mm, color, 1.37:1, 10 min.

Based on Un coup de dés jamais n’abolira le hasard (A Throw of Dice Will Never Abolish Chance) by Stéphane Mallarmé.
Fortini/Cani, 1976, Italy, 16 mm, color, 1.33:1, 83 min.

Based on I cani del Sinai (The Dogs of Sinai) by Franco Fortini.
Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene (Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene”), 1973, West Germany, 16 mm, color/B&W, 1.33:1, 15 min. Based on Arnold Schoenebrg’s letters to Wassily Kandinsky and Bertolt Brecht’s 1935 spech to the International Congress in Defense of Culture.
Geschichtsunterricht (History Lessons), 1972, Italy/West Germany, 16 mm, color, 1.33:1, 85 min. Based on Die Geschäfte des Herrn Julius Caesar (The Business Affairs of Mr. Julius Caesar) by Bertolt Brecht.
Les yeux ne veulent pas en tout temps se fermer ou Peut-être qu’un jour Rome se permettra de choisir a son tour (Eyes Do Not Want to Close at All Times, or Perhaps One Day Rome Will Permit Herself to Choose in Her Turn [Othon]), 1970, Italy/France, 16 mm, color, 1.33:1 (subsequently blown up to 35 mm, 1.37:1), 88 min. Based on Othon by Pierre Corneille.
Der Bräutigam, die Komödiantin und der Zuhälter (The Bridegroom, the Actress, and the Pimp), 1968, West Germany, 35 mm, B&W, 1.37:1, 23 min. Based on Krankheit der Jugen (Pains of Youth) by Ferdinand Bruckner and Juan de la Cruz’s “Romance on the Gospel,” “Spiritual Canticle,” stanza 22 (first version) or stanza 29 (second version).
Chronik der Anna Magdalena Bach (Chronicle of Anna Magdalena Bach), 1968, West Germany, 35 mm, B&W, 1.37:1, 93 min.

Based on Necrology by Carl Philipp Emanuel Bach and J.F. Agricola.
Nicht versöhnt oder Es hilft nur Gewalt, wo Gewalt herrscht (Not Reconciled, or Only Violence Helps Where Violence Rules), 1965, West Germany, 35 mm, B&W, 1.37:1, 55 min.

Based on Billard um halbzehn (Billiards at Half-Past Nine) by Heinrich Böll.
Machorka-Muff, 1963, West Germany, 35 mm, B&W, 1.37:1, 18 min.

Based on Heinrich Böll’s “Hauptstädtisches Journal” (Bonn Diary) in the collection Dr. Murkes gesammeltes Schweigen (Murke’s Collected Silences).