The essay examines the films based on Böll’s works, focusing in particular on three types of films: 1) the films of the first phase of the New German Film (works by Vesely and Straub / Huillet) which radicalised Böll’s works on both the formal and content levels 2) those born from the collaboration between Böll himself and the director Volker Schlöndorff (from Die verlorene Ehre der Katharina Blum to the episode inserted in Deutschland im Herbst named Die verschobene Antigone) and finally two examples of a mere illustrative transposition of Böll’s works. The appendix contains a systematic table containing Böll’s transpositions for both cinema and television.