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Lewin made films for three often interchangeable purposes: as a methodological tool for analyzing human (social) behaviour; as a rhetorical device for illusl.ral.iiig his presentations and aiding the dissemination of his theoretical concepts; and, as personal records of family and friends. Only a few of these films have survived, and their linkage to key concepts such as life-space arc described. A recently re-discovered feature-length dotumenlary/'Das Kind und die Welt" (1931), whose production Lewin supervised, dramatises the development of the child, in keeping with Lcwinian concepts and the broader contextual concerns at the time for the world of the child in a big urban city such as Berlin. Finally, Lewin's meetings with Russian filmmaker Sergej Kisenstein while this film was in production, are detailed, along with a discussion of their mutual influences in psychology and filmmaking.

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