Born in Czechoslovakia in 1928, at a very young age Haro Senft was devoted to painting, his first passion. In 1954 he created his production company, Boheme Film that would become Haro Senft Filmproduktion two years later. At the end of the 1950’s with other film directors like Edgar Reitz and Alexander Kluge, Haro Senft set himself up  as the founder of the New German Film Industry, a film industry without conventions and without commercial constraints.

Consequently, Haro Senft was inspired by the work by a group of German expressionist artists from the beginning of the twentieth century called Die Brücke. Roughly and without compromise, the painters of this movement fiercely criticised this modern world, calling for a return to nature and a primitive state and thus attracting the wrath of conservatives who considered them to be a danger to German youth. Through his short film justifiably called Die Brücke Haro Senft also attacked industrialisation.  He even used the same techniques as those of the painters:  opposing colours, black and white, rugged, vertiginous shapes as well as violent images.

Actress Maya Maïsch’s simple acting as well as the anxiety-producing, subjective music reinforces Haro Senft’s desire to make this film a simple window on the reality surrounding him.  He refused to accept his work being defined as symbolist and claimed it to be a literary or philosophical non-endeavour.  He just wanted to show something.

In 1962 Haro Senft wrote the Oberhausen Manifesto with his friends Reitz and Kluge, in which they lay claim to “the creation of the new German film industry.  A new film industry, which needs new freedom”. With Die Brücke already announcing the premises of this more experimental film making, Haro Senft confirmed this two years later with Auto Auto, also presented on the website.