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Premiered in the spring of 1935, the films Hände am Werk (Walter Frentz) and Avodah (Helmar Lerski) sought to propagate Nazism and Labor Zionism, respectively. The different ideological contexts notwithstanding, the structure and imagery of these films are remarkably similar. In analyzing the similarities, this article reads these films as commentaries on Weimar culture and its heritage. Both Lerski and Frentz utilized late Weimar aesthetics in order to envisage Zionism and Nazism, respectively, as solutions for the experience of crisis in pre-1933 Germany. Yet certain differences—in particular, their contrasting treatments of the filmed landscapes—disclose the filmmakers' disagreement on the nature of the "solution" and its implications.