nature of chance), even in an opera film based on biblical motifs, such as Moses and Aron, whom they dedicated to Holger Meins. Aesthetically, they were particularly oriented towards the dramaturgical ideas of Bertolt Brecht, for example by saying that the actor should not play his role in an illusionistic way, but that he should identify his activity as what it is: quoting. You have therefore very often worked with amateur actors who put their natural dialects in place of perfectly standardized dialogues. Nevertheless, their films are characterized by an unbelievable aesthetic rigor and formal rigor: every shot is precisely constructed, no cut is a concession to conventions. But Straub sees himself as a traditionalist and has often expressed his affinity for classic filmmakers such as Kenji Mizoguchi and John Ford. Collaboration Due to his more extroverted nature, Jean-Marie Straub served as the public face of the couple: this has contributed to the widespread assumption that Huillet's role in their filmmaking process was secondary. In reality, the two split their work equally, with Straub responsible for mise en scène, Huillet controlling much of the production design and editing process, and the two being equally responsible for the pre-production, texts and rehearsals. This method can be seen in Pedro Costa's documentary Where Does Your Hidden Smile Lie?, filmed during the editing of Sicilia!. What is special about the work of Huillet and Straub is the often decades-long continuity that they have with many of their employees. They realized most of their work with two cameramen: William Lubtchansky (9 films) and Renato Berta (20 films to date), with whom Jean-Marie Straub still worked. The sound engineer Louis Hochet was responsible for the sound recordings for 15 of her films between 1967 and 1998, including the films Chronik der Anna Magdalena Bach (1967), [4] Moses and Aron (1974) and Von heute, which are determined by live recorded music auf Morgen (1996), each of which broke new ground in integrating music into a film. An equally formative connection existed with the Tuscan town of Buti, which was used primarily as a location for the films based on Cesare Pavese's dialogues with Leuko, as well as with the Teatro Francesco di Bartolo located there, whose ensemble has participated in a total of ten films. Huillet and Straub often paid tribute to friends and colleagues, such as the filmmakers Peter Nestler, Frans van de Staak, Holger