Analyzing the work of a key film maker, this paper argues that most gynaecological films of the 1960s are significantly indebted to biological cell-films produced in the 1920s on the epistemological level, constituting a form of research note book. The audience was different from public health films: experts were watching. Previously secret interior worlds of the body are the subject of films shot through the laparoscope. The optic tube inserted into the abdomen had been discovered as an exciting tool by gynaecologists in the 1950s, serving for minor operations on the tubes and ovaries and differential diagnosis of various diseases. Researching doctors switched from photography to 16 mm film as soon as their private budgets allowed. Constantly at hand in the operating theatre, the camera was quickly attached to the laparoscope in selected cases, recording the gaze into the anaesthetized woman’s peritoneal cavity. Crudely edited and provided with a self-made soundtrack of scholarly commentary and classical music, the films were taken to international congresses. From 1956 onwards, the World Congresses of Fertility and Sterility featured short films about the reproductive system of humans and animals and about ways how to manipulate them. Gynaecologists, biologists, embryologists, histologists and endocrinologists attended sections dedicated to organs and functions rather than disciplines. Knowledge transfer was easy and significantly contributed to the rise of reproductive medicine. At gynaecological conferences, the manual skills for cutting and grasping instruments in the body were taught in close-up sequences. In the age of population control, surgeons around the globe were eager to learn how to apply the latest sterilization clips. In 1962, surgeon Hans Frangenheim in Cologne ventured into physiological documentary, recording human ovulation on celluloid for the first time. ‘Ovulation Homo Sapiens’ is an example of the ample circulation of laparoscopic films: shown at fertility conferences to an audience already acquainted with animal ovulation, this film became well known due to the aura of its pioneering nature. Its clear aesthetics also appealed to the German Institute for Scientific Film (Institut für den Wissenschaftlichen Film) who integrated the 2 minute piece into their ambitiously conceived Encyclopaedia Cinematographica, a 1,000 reel collection of ‘samples of movement in the natural world’, classified by species and part of the body. Laparoscopic films therefore provide a major study case for the dissemination of medical knowledge post-WWII.