What was unsuccessful 400 years earlier in the German Peasants’ Wars is achieved in 1945 by the unbreakable bond with the Soviet Union: Under adverse conditions, workers and peasants build a socialist state. In 1970, when this film was made, the SED (Socialist Unity Party of Germany) asserts its claim to leadership grounded in the past – it moves forward on the “Way from the I to the We”.

Designed as a travelogue about Israel, Herbert Viktor emphasizes similarities to the FRG of the economic miracle years in his film: clean, neat, busy, enterprising. Haifa, for example, is described as having evolved from a “meeting place for Arabic caravans and robber bands” to the most modern port of the Levant. Viktor also pays tribute to the welcoming culture for the persecuted of the world, but omits to elucidate on the fates that lie behind them. The film, spiced up by staged intermezzi to become a statement of sympathy, was released in Federal German cinemas in 1959 under the patronage of Willy Brandt. It was not allowed on Israeli screens before 1962, when the death sentence against Adolf Eichmann had been upheld by the court of appeal.

An app that assigns a sound and a connected graphic element to every letter of the computer keyboard forms the basis of this live improvisation by CFM. The game of patterns and breaks uses different sound-form combinations from Jono Brandel’s kit to create rhythms, loops and music as well as a video to accompany them.

Insects aren’t cute and often not beautiful, but very exciting, Pepe thinks. His favourite animals are dragonflies, which can control their four wings individually and take off faster than a jet plane. But where do you still find these flying wonders? Pepe knows that many insects are dying out in Germany because they are robbed of their habitats. He wants to change that!

Echoes, filters and rhythmic montage turn sound fragments into an audio piece about a seemingly wilful music box. Philippe Arthuys – a film composer for luminaries like Rivette and Godard and a filmmaker himself – varies the tempo from stuttering to quietly breathing, making sound particles emerge suddenly from the depths of space and disappear again. A cinematic mini-drama for the ears.

Why do we see certain colours even when they aren’t there? Chinese director Tang Han meticulously analyses the 100 Yuan bill, which carries a portrait of Mao Zedong, and finds that – despite official representations and general perception – the note is pink rather than red. In a serious tone and colourful, merry images she also casually upsets any number of other entrenched notions about digitalization, globalization, capitalism and gender.