Taking as its subject the political and formal filmstrategies of Harun Farocki’s 1969 black and white film Inextinguishable Fire, produced in Germany at the height of the Vietnam War, Godmilow’s film is literally and stubbornly a remake – that is, a perfect replica in color and in English, of Farocki’s film, which attempted to make ‘visible’, and thus comprehensible, the physical properties of Napalm B.
