By photofilms we understand films that essentially consist of photographs. Photographs placed in a cinematic context create a filmic experience. In photofilms, the film medium is dissected into its components. Photofilm authors experiment with the relationship of text, sound and image, reflecting on the composition of the cinematographic. They let us 'think' cinema. The photofilm deconstructs cinema into single frames, language, sound, music – and treats its elements as independent components. Taking these 'building blocks,' the photofilm is consciously assembled in a playful way to become a projected reality. The photofilm opens up interspaces. The interspaces are – as Raymond Bellour said – 'between the images' and cause the consecutive nature of the filmic in the first place. Between the unmoving images in films, there are blank spaces. However these are potential spaces (D. Winnicott), which are charged up by the imagination. The interspaces in photofilms are just as important as the still images. 'Something always remains hidden, like something always fundamentally remains hidden in photography.' (Elfi Mikesch) And the photofilm makes us sensitive to what is hidden in the moving and the still image, in language, sound and music.