The Bauhaus is now one hundred years old and, in my opinion, continues to be as contemporary as ever. It is surprising that, at just fourteen years old, objects, industrial products, plastic works and architecture resist the passage of time, despite the difficulties and contradictions it experienced during the years of the Weimar Republic. It is also not surprising given the students and teachers who filled its classrooms: Paul Klee, Wassily Kandinsky, Johannes Itten, László Moholy-Nagy, Lyonel Feiniger, Josef Albers, Günta Stolz, Walter Gropius, Mies van der Rohe or Marcel Breuer. This is the story that we see in the documentaries directed by Niels Bolbrinker: Bauhaus. The myth of modernity (2017, with Kerstin Stutterheim) and Bauhaus Spirit. 100 Years of Bauhaus (2018, with Thomas Tielsch), in which some of its students appear, conveying their artistic and life experience. This same experience is narrated by the protagonist of the Erich Schmid documentary Max Bill. A classic of the future (2008), which in turn, introduces us to the world of the Ulm School of Design, owing its existence to the Bauhaus, and to the post-war culture. Other documentaries, such as Kandinsky and the Russian House (Michael Craig, 2007) and Mies van der Rohe (Michael Blackwood, 1986), offer a profile of two of its most important protagonists: Kandinsky, one of its pioneers, and Mies, its last director.