Inga Humpe

Durch die Nacht mit … is a German documentary film television series produced by ZDF for Franco-German television channel ARTE. Locations are mainly in France or Germany. The title of the French version is Au cœur de la nuit. Two Celebrities spend an filmed evening together. One of them is the host who sets the location and the program. There is no moderator.

A "children's birthday party" for adults. Each show featured a celebrity guest who had to take part in crazy, silly and often deliberately "moronic" games. Both presenters had to compete against the respective guest in various games.

Celebrating Udo Lindenberg’s 80th birthday, exploring his extraordinary career as one of Germany’s most influential rock musicians. The film traces his rise from a rebellious young artist to a national icon, highlighting his music, political activism, and unique personality. Through interviews, archival footage, and behind-the-scenes insights, the documentary showcases Lindenberg’s cultural impact and enduring legacy in the German music scene.

The great Udo presents himself and a little bit more at "Kampnagel" in bis hometown at the so called "Waterkant". The concert is taken from a live gig from 03.Juni 2011. A lot of good 'Öl friends made music with Udo and his so called " Panik Orchester" at that day. These are: Jennifer Rostock, Max Herre, Clueso, Stefan Raab, Jan Delay and a few more. Enjoy!

In the emergence of the gay movement, music played a crucial role. This documentary explores how artists like Madonna, Boy George, David Bowie or Lady Gaga have contributed to the acceptance of homosexuality in Western societies. Back on the history of gay hymns since "Over the rainbow" sung in 1939 by Judy Garland.

The Earth shortly before its end. The houses in the cities are deserted, the streets smashed. The sky shimmers dark gray.

An unconventional essay film that interrogates the visual and ideological legacy of the Vietnam War. Blending staged scenes, archival footage, photographs, and philosophical dialogue, the film follows various characters — including an American soldier captured by North Vietnamese villagers — as they reflect on violence, memory, and image-making. Set partly in West Berlin and partly in reconstructed spaces representing Vietnam, the film avoids traditional dramatic narrative in favor of a fragmented montage of voices, documents, and reenactments. Interweaving love stories, political debate, and historical commentary, Farocki creates a critical reflection on how war is represented, seen, and imagined, both in cinema and in public consciousness. The result is a complex meditation on images as weapons and instruments of perception.