Hartmut Bitomsky

B-52, his feature-length documentary film about the B-52 bomber, shot in the U. S., Germany and Vietnam, premiered in February 2001 at the Berlin Film Festival. The film had theatrical distribution in Germany, Japan and the U.S. and has been screened all over the world.

A documentary about dust: where it comes from, how it affects us, and our never-ending fight to clean it up.

It was made by extraordinary Bitomsky's voice and movement of his hands that turn over photos of murder in films. It's 'a film noir as a film essay which analyzes film noir'. When he analyzes classic films like "Torn Curtain", "Hangmen also die", "The Killers", "Kiss me deadly", etc, each viewer tries to remake the images that always becomes uncertain in the memory,with the movement of Bitomsky's hands and voice as a detective showing photos of evidence of murders. (KG)

A cinematic essay on the narrative space imagined by fiction films.

Another brilliant cinematic essay by Bitomsky; this time concerning the phenomena of the documentary film.

Documentary on the Volkswagen factory as an exemplary case of German industrial and cultural history, while the car itself, from the first Beetle to the newest models, both technical product and myth, becomes a revealing example of the history of German values. (KG)

Alternating archival footage of the construction and contemporary interviews with some of the workers with kitschy propaganda films made by the Third Reich, which attempted to "sell" the Autobahn to a recalcitrant public, Bitomsky puts together a kind of cultural history that may be long-winded and dry in spots, but that still adds up to an absorbing document about a monument designed to provide "not the shortest but the noblest connection between two points." (SMZ)

In the 1930s, the Nazi regime discovered they could use as a platform for propaganda short films preceding the features shown in movie theaters. In his documentary, Hartmut Bitomsky reveals the ideological material hidden beneath what was presented as 'cultural films.'In his cinematic collage, the director exhibits how the Nazi regime used the media to subtly infiltrate its ideology into people's everyday lives. (istanbulmodern.com)