Margarethe von Trotta’s Hannah Arendt (2012) does not represent well the life and work of its protagonist. The focus on thinking in the film fails to reflect how Arendt connected it to judging, especially in the midst of modern mass society and in light of political catastrophes. Arendt’s reflections on statelessness are not explored in the film. Finally, the elimination of Karl Jaspers from the storyline results in an incomplete picture of Arendt’s stance toward the jurisdiction of the Jerusalem court. A politically relevant Arendt is obscured in the making of a personal Arendt.