Of all avant-garde movements, the Bauhaus is certainly the least associated with the new medium of film. One thinks only of the Hungarian Constructivist László Moholy-Nagy, whose treatise "Painting, Photography, Film" (1925) for many years was the only tangible trace of the school's involvement with the medium. But the Argentine photographer Horacio Coppola also made a significant contribution to the cinematic art of the Bauhaus. After founding the first film club of Buenos Aires at the end of the 1920s to introduce contemporary film to the Argentinean audience, he travelled through Europe from 1932 to 1935, met his future wife Grete Stern and cultivated intensive exchanges with the most important exponents of the Bauhaus. Back in Argentina, they organised the first exhibition for modern photography in Buenos Aires. Coppola's small cinematic oeuvre of only four films is a fascinating testimony to an intensive examination of the peculiarity of images in motion, an eloquent attempt to find a personal film language, a unique, inalienable style and view.