In 2012, the world of cinema celebrates 50 years of Oberahusen Manifesto, a statement made by 26 young German filmmakers in 1962, saying that "the old (German) cinema is dead. We believe in the new cinema. ".

The young German filmmakers in the early 60s were tired of the film industries and institutions in the homeland which has let the German cinema collapsed in terms of quality and economic value. Until the Oberhausen Film Festival VIII (in West Germany at that time), Oberhausen Manifesto was declared, marking a radical movement initiated by the younger generation. They reject how they positioned themselves in a hierarchy of production, and berated the restrictions on how the film should be produced and presented to the audience (in this case also means the market).

Although in the end it is not easy to define what is a new German cinema, but names like Ferdinand Khittl, Hansjuergen Pohland, and Haro Senft successfully experimented with fresh cinematic languages; short cinemas without any rigid structure, low budget, themes dealing with the materialism of post-war society, bourgeois morality, youth alienation, and all the personal problems which they believe also represents the world's problems.

The program is taken from the original 69 Editon Filmmuseum containing 20 films. However, for this screening, the films were selected again, in accordance to the periods, styles, and subjects.

1. Das magische Band 1959, 20 ', dir: Ferdinand Khittl
2. Schatten, 1960, 10 ', dir: Hansjuergen Pohland
3. Salinas, 1960, 11 ', dir: Raimond Ruhl
4. Trab Trab, 1959, dir: Detten Schleiermacher
5. Brutalitaet in Stein, 1961, 11 ', dir: Peter Schamoni
6. Kommunikation, 1961, 11 ', Edgar Reitz
7. Plakate der Weimarer Republic, 1962, dir: Haro Senft
8. Das Unkraut, 1962, 11 ', dir: Wolfgang Uhrs
9. Marionetten, 1962, 11 ', dir: Boris von Borresholm