Kampf um ein Kind

“The story: a Berlin doctor, married with a two-year-old child, leaves her husband to go to Munich to work at a hospital to the right of the Isar. Her husband doesn’t know that she’s pregnant. She’d like to have her second child in less protected fashion, perhaps with the thought in the back of her mind that a child who grows up in a community of women with a woman as a second figure to relate to alongside the mother might become a new type of person. […] Much in the film is like Godard. He was the first one to try out how reality can be helped to heightened expression via a fictional arrangement. In Vladimir et Rosa, he stages an ideological battle of words as a tennis match; in Engström’s film, Harun Farocki conducts a conversation with the viewer at a remove, one so precise it could be printed right way (Frieda Grafe). In Filmkritik, Harun Farocki wrote: “The film is one of the few where you can see that pieces have been put together. That alone would be too little, the piece must be put together in such a way that they form a whole so that both remain present upon watching the film, the piece and the whole.”