For over four decades, the films of Danièle Huillet (1936–2006) and Jean-Marie Straub (1933-2022) have been woven into the history of modern cinema as a continuous thread. While both were French, they worked mostly in Germany and Italy, and made two dozen films between 1963 and 2006. Their films, often adapted from theatrical or literary works, are distinguished by their deliberate use of Brechtian distancing techniques and strong Marxist political overtones. Aesthetically their work has been described as austere with minimal camera movements, long takes, simple, stark settings and restrained acting performances. While remaining scrupulously attentive to the rhythm of the text, as well as the link between sound and image, Straub and Huillet sought to invent “an abstract-pictorial dream.” Rare documents of aesthetic and political resistance to the world’s conditions, their works are characteristic of a great lyrical beauty and radical social formulas. All Straub-Huillet’s films are political, whether directly or indirectly, critically examining capitalism and class struggle and investigating examples of concrete utopias and exploitation, and marked by irreconcilability, rebelliousness, and a gentle appearance. Huillet and Straub’s oeuvre is, when regarded today, an always fresh, exciting, and inimitable succession of films on history, painting, nature, politics, music, language, bodies, rhythms, and forms.