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The filmmaker Win Wenders, in the direction of False Movement (1975), as well as Alice in the Cities (1974) and In The Passing of Time (1976) completes a trilogy in which the representation of the German imaginary and identity appears to be filled with a violent nihilism as regards the notion of the possibility of a collective project, a precarious common-belonging within a determined political state and historical heritage, the decadence of the cinema as a language related to the ethic-esthetic of the past. This article proposes to be a critical reading of the identity representations in False Movement (Falsche Bewegung, 1975) and of how these are operated as reproducers of meanings to the memory, the myths and the histories of a determined imaginary geography. [ABSTRACT FROM AUTHOR]