Catastrophe. What Comes After the End?

Anchor Link: Exhibition
Anchor Link: Program
Anchor Link: Catalogue
Anchor Link: Visitor Information
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Special Exhibition from 14 July 2021 through 22 May 2022

Only the tip of the Statue of Liberty protrudes from an ice desert, Los Angeles lies in ruins, Pompeii is engulfed in smoke and fire, the luxury liner is drifting up the hull: the exhibition CATASTROPHE. What comes after the end? focuses on disaster films. The extinction of mankind, of life on Earth, the complete destruction of flora and fauna by a man-made or natural “catastrophe” – this scenario has fascinated filmmakers all over the world for decades and with them millions of moviegoers, who are thrilled again and again by the staged catastrophes. Visions of nuclear war, as in Stanley Kramer’s ON THE BEACH (US 1959), are part of the repertoire – alongside earthquakes (ZEMLETRYASENIE – EARTHQUAKE, AM 2016), volcanic eruptions (GLI ULTIMI GIORNI DI POMPEII, IT 1959) threats from outer space (DEEP IMPACT, Mimi Leder, US 1998) and, more recently, climate change-induced scenarios such as in THE DAY AFTER TOMORROW (Roland Emmerich, US 2004).

Heading: Catatstrophe!
Filmstill The Day After Tomorrow

Still from THE DAY AFTER TOMORROW. Courtesy of Twentieth Century Fox. All rights reserved.

When the earth lies there as a ruin, when the sky has turned ashen gray and the sun has been extinguished:
There is no one left to tell about it[…].
That is why such visions of the future belong in the department of fiction: film, painting, literature.
David Hugendick: Wir letzten Menschen (Us, the Last Humans), DIE ZEIT 21.7.2014

What captivates us about disaster? It may be the contradictory fascination between an overwhelming event and the fear of its uncontrollability.

The idea of a catastrophe has inspired artists, especially since the Renaissance, to develop dystopian visions of the future as a critique of their present. To this day, it is true that apocalyptic artworks reveal a great deal about an epoch’s attitude to life. Whether it is medieval Bible prints, 18th century pamphlets, 19th century literature, or 20th century moving images: Often fears and threats of their time of origin play a role. The fascination between the overwhelming disaster and the fear associated with it can be lived out in the safe framework of cinema. Disaster films, dystopias, end-time scenarios are in vogue in changing times, may it be the nuclear danger between the 1960s and 80s (THE LAST MAN ON EARTH (US 1964) and LETTERS OF A DEAD MAN (USSR 1986)), the man-made catastrophes in the 1990s (TURBULENCE, THE FLOOD, TITANIC, VOLCANO), or, given the global impact of human activity on the climate, the large-scale blockbusters of doomsday specialist Roland Emmerich (THE DAY AFTER TOMORROW (US 2004), 2012 (US / CAN 2009)).


The question of what catastrophe looks like and what comes after it has always captured the imagination of filmmakers. The exhibition is dedicated to their works, to their preconceptions and representations of disaster scenarios, and to the social, political, and cultural themes and questions implicit in them: What triggers a disaster? What are the biopolitical implications of rescue scenarios? How is fear instrumentalized in the state power structure? What do types and aesthetics of cinematic representation of doom say about our time? Is there a widespread longing for the “cleansing” catastrophe, and what does this mean? By imagining the catastrophe that we cannot know, filmmakers also strive for reassurance, insurance, the impression of controllability.

Heading: The Exhibition

THE WAVE (Bølgen). The film will be screened at the DFF cinema in the film series accompanying the special exhibition. Source: Atlaspix / Alamy Stock Photo

I longed for a Bruce Willis to put everything right.
US-Anthropologist Vincent Crapanzano, Sept. 2001

The exhibition CATASTROPHE is dedicated to cinematic as well as real catastrophes, especially against the background of the “climate catastrophe”. How do filmmakers, on the one hand, and scientists, on the other, imagine the worst possible scenario in different times? What rescue possibilities do they see? How likely are the film plots?

Visitors will go through the stages of the classic disaster film – from the first warning signals to the outbreak of the catastrophe and the subsequent rescue efforts of those affected, to the final rescue with the prospect of a new beginning. On view, of course, are film clips, but also other “image-generating” objects from the cinematic process, from storyboards to set designs to movie posters. These cinematic images are juxtaposed with reality: Journals, scientific interview sequences, and objects from dealing with real-life catastrophes testify to how science adapts to the worst possible scenario.

An exhibition catalogue is available to buy from 14 July 2021. In addition, an extensive framework program, including a film series, accompanies the exhibition.

Plakat der Ausstellung
Heading: The Catalogue

Only human beings can recognize catastrophes,
provided they survive them;

Nature recognizes no catastrophes..
Max Frisch, Man in the Holocene, 1979.

The book accompanying the exhibition connects different conceptions and expectations of catastrophes from both historical and contemporary perspectives: film scholars, art scholars and natural scientists describe disasters from their own point of view. An extensive illustration section sheds light on ideas of catastrophes in art, reality and media in the history of mankind and contrasts described and pictorial ideas of catastrophes. Finally, experts from different fields (religious scholars, journalists, social scientists, economists, risk consultants, psychologists, artists, morticians, geologists, atmospheric chemists, activists) outline their ideas of the future, as well as utopias and dystopias. They arrive at different answers to the question of what may come after the end – but they all agree that something will come.

The catalogue follows the exhibition’s structure, includes images of numerous exhibited objects and deepens the exhibition’s focus on climate change scientifically and visually.

In addition to a large number of experts on eschatological ideas, Dr. Solvejg Nitzke (TU Dresden), Prof. Dr. Jörg Trempler (Univ. Passau), Prof. Dr. Dr. hc Volker Mosbrugger (Naturforschungsgesellschaft Senckenberg) and Dr. Jakob Lillemose (Disaster Researcher, X and beyond) are among the authors of this publication. An extensive image stretch and a disaster movie filmography round off the book.

The catalogue will be published in two editions (German / English), each with a print run of 500 copies. 172 pages in five-color hardcover, € 24,80.

Available in our museum store and online.

Link zum Shop
Heading: The Accompanying Program

Film still from VERDENS UNDERGANG (August Blom, DK 1916). Source: Det Danske Filminstitut

Human history becomes more and more a race
between education and catastrophe.
(H.G. Wells)

The images of disaster films are – of course – one thing above all: sensational! But how accurate are the scenarios shown there – can catastrophe really strike like that? How do we imagine the worst that can happen? Since when has disaster fiction actually existed? How acute is the threat of climate change? And what can we do to prevent it from happening?

In the 1970s, disaster films brought a younger audience back to the cinema, and the trend continues today: the lavish, action-packed blockbusters reach a younger audience in particular – certainly not least because the scenarios shown (could) affect them directly. The museum’s educational framework program in particular takes advantage of this attention to provide knowledge and offers for action to deal with the climate-related catastrophe.

In film series, discussions, workshops and guided tours, as well as in unusual activity formats, the accompanying program to CATASTROPHE is dedicated to both the enjoyment of the sensational images and their critical examination: between experience and knowledge transfer for all ages, we offer numerous events and activities in cooperation with our partners from the Senckenberg Natural History Museum.

Heading: Visitor Information

2012 © 2009 Columbia Pictures Industries, Inc., All rights reserved, Courtesy of Columbia Pictures


Catastrophe runs from 14 July 2021 through 22 May 2022.

Tuesday – Sunday: 10am – 6pm
Closed on Mondays.

Admission & Tickets

Catastrophe: 9 / 6* Euros
Permanent Exhibition DFF: 6 / 3* Euros
Family ticket for 2 adults and 2 kids (older than 6 years): 24 Euros, each additional child: 2 Euros

Due to Coronavirus restrictions, we can only offer a limited number of tickets per time slot. Please purchase your tickets online in advance.

Guided Tours

Meeting point: 2nd floor.

Requirements: Online tickets for appropriate time slot and proof of either a negative Covid-19 test, of completed vaccination (at least 14 days prior) or of recovery.

Open Film Studio on Weekends

With bluebox and dubbing of animations.

Saturday and Sunday 12 a.m.-6 p.m.. Included in general admission.

Requirements: Online ticket and proof of either a negative Covid-19 test, of completed vaccination (at least 14 days prior) or of recovery.

More guided tours

Guided Tours Online

Every third Wednesday of the month at  7:15p.m.
Guide walks through the exhibition, participants join via Zoom.

July, August and November from DFF
September, October and December from Senckenberg Natural History Museum.

Guided Tours for Schools

These tours consist of two parts: one tour at DFF and one tour at Senckenberg Natural History Museum.
Admission: free, please book at
(069) 961220223 (10am – 3pm)

Private Guided Tours

Duration: ca. 1 hour.
Booking required at
(069) 961220223 (10am-3pm)

Accessibility: The DFF – Deutsches Filminstitut & Filmmuseum is accessible for visitors with limited mobility or with strollers via an elevator to the right side of the museum’s entrance. Elevators in the foyer provide barrier-free access to all floors. Wheelchair-accessible restrooms can be found in the basement and on the 4th floor. The house provides a wheelchair on loan.

Interactives in the exhibition offer additional information and self-guided tours. They are accessible through your own smartphone via QR code. In order to use them, please bring a charged tablet or smartphone and headphones with you. You will also need a QR code reading app, which is best downloaded in advance.

Accompanying Program: Events take place alternately at DFF and at Senckenberg Natural History Museum.

*Reduced fees for: pupils, students and the unemployed.  Children under the age of 6 and birthday children get free admission to the exhibitions.

Heading: Sneak Peek at the Exhibition

DEEP IMPACT. The film will be screened in the accompanying film series at the DFF cinema. Source: AA Film Archive / Alamy Stock Photo

Coming soon…

Heading: Team

2012. The film will be screened in the accompanying film series at the DFF cinema. Source: RGR Collection / Alamy Stock Photo

Curator / Exhibition Lead: Stefanie Plappert

Assistants: Josefine Steffens, Laura Rosero Melo, Paul Skupin

Support: Daria Berten

Registrar: Tim Heptner

Research Assistance: Jens Kaufmann, Christian Appelt

Collaborators Senckenberg Gesellschaft für Naturforschung: Dr. Martin Cepek, Prof. Dr. Katrin Böhning-Gaehse, Prof. Dr. Volker Mosbrugger, Dr. Brigitte Franzen, Prof. Dr. Klement Trockner; Thorolf Müller, Hendrik Denkhaus

Interview partners Senckenberg Gesellschaft für Naturforschung: Prof. Dr. Andreas Mulch, Prof. Dr. Thomas Hickler, PD Dr. Irina Ruf, Dr. Jutta Zipfel

Scenography: Duncan McCauley, Berlin (Noel McCauley, Reyhan Toraman, Anna Syrianou, Christian Klier)

Media Preparation: Christian Appelt

Media Production and Editing: Michael Kinzer

Interactives: Emil Himstedt

Constructions: artevilla / Adriano Renzullo

Graphics Production: Types on Foil

AV Equipment: satis&fy, Karben

Exhibits Preparation: conceptdesign / Günter Illner

Museum Education: Daniela Dietrich (Leitung Museumspädagogik DFF), Lena Sistig (Senckenberg)

Press and Public Relations: Frauke Haß / Head of PR, Marie Brüggemann (DFF), and Anna Lena Schnettler (Senckenberg)

Website and Content for Mobile Devices: Jürgen Kindlmann (DFF)

Archives: Hans Peter Reichmann, Isabelle Louise Bastian, Simon Lames, André Mieles, Thomas Worschech, Michael Schurig

Controlling: Maria Käppele, Birgit Wickenhäuser

Thanks to: Susanne Becker, Helen Kahsai, Ismail Merzak, Claus Wiedemann, box office staff, museum attendants, and all DFF staff.

We thank our partners and sponsors!


In collaboration with:



The exhibition is funded by

Stadt Frankfurt am Main


The catalogue is funded by



The education program is funded by



Medis partners:


Journal Frankfurt