Kategorie: Allgemein

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D, 2016, color, video,
8.35 min., German, engl. subtitles
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The film ‚Franzosensand‘ centers on agricultural settlements founded by the German National Socialitst on newly built dikes on the mudflat of the Wadden Sea (North Sea).

Like a PhD research project, this film enters a hamlet on the German Wadden Sea and links images of an unimportant, tidy-looking landscape to archival material, thereby exposing a painful, hidden history. The film elicits questions about commemorative places and guilty landscapes. (International Filmfestival Rotterdam)

Edition

The film has the edition 5 (+2)
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D, 2008, HDV, color,
38 min., english
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An actress is caught in an archetypal world, governed by the compulsive, didactic mechanisms of the Hero story, of film codes, of story-telling and acting rituals.
Is happiness a longing for repetition?

Without giving a simple answer or merely being parodistic, the film questions heroes, dominant narratives and exposes bared structures (some much older than cinema), which generate the story by themselves. It reflects on our desire for repetition, how cinema affects us and what it tries to teach us.

The choreographic aspect of stunts and their kinship with dance is made transparent, while they question how film deals with the human body and reflect on violence as a means of provoking the identification of the viewer.
The film means to create through its distanced aesthetic a reflection (or is it a dream) on what cinema does to us and what messages it carries.
So what have we been taught today?

Edition

The film has the edition 7 (+2)
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IT/D, 2018, colour, 16mm,
15 min., without text
Screening format HD

with financial support by Stiftung Kunstfonds Bonn
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Marbled paper blue, a book’s illustrations, the flicker of film’s materiality: these are just a
few of the narrative devices that punctuate Bettina Nu.rnberg and Dirk Peuker’s essayist film
tracing the atmospheric efects of Italian architect Carlo Scarpa’s significant buildings,
including the Brion family cemetery. As homage the work continues the filmmakers’
interests in documenting architectural histories. What is significant about this more poetic
rendering is how it follows the rhythm of the spatial forms and motifs of their subject:
Scarpa took an apolitical stance and refused to make architecture during the reign of
fascism in Italy (1922–43); in the years that followed however, he produced Venice’s
modernist exemplars, arguably the most beautiful architectural works of modernism for
how they create mental spaces embedded in and indebted to his phenomenal city. With
awareness of their medium, Nu.rnberg and Peuker capture both the structure and freeforming
style of Scarpa’s architecture: their camera is equally focused on the mood of the
city, the flow of water, the mandala as dichotomous form—light casts shadows. In turn, the
film oscillates between document and experimental realism. The punctuating book pages
that were an inspiration for Scarpa and ofer a structuring means for the sensuality of the
recorded images come from the Venetian treatise of 1499 ascribed to Poliphili, which
loosely acts an inventory of life-forms and classical humanist thought while following the
story of courtly love. The act of ceremony is important to the book and so it is to the film as
it mediates on Scarpa’s constructions, anachronistic zones that cross life with death, only to
return to life once more: the film flickers, the paper is left wet, a hand all blue rises from the
ruins … (Laura Preston)

Edition

The film has the edition 4 (+2)
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D, 2010, colour, 16mm,
12 min., German with engl. subtitles

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The film The American Houses examines the buildings of the nearly forgotten german architect, Thilo Schoder. Schoder, who had studied under Henry van de Velde in Weimar, was classified as an architect of the New Objectivity movement of the 1920s. Schoder built some modernist houses in the 8 years period, from 1923 to 1931, in small villages from eastern Germany to the Czech Republic. When the Nazis took power Schoder, accused of being a socialist, was refused any further building contracts, forcing him to emigrate to Norway.

In „The American Houses“ the condition of the buildings filmed range from highly renovated to abandoned and dilapidated. The surviving examples are not portrayed as technical depictions, but as subjective sensation.

Edition

The film has the edition 4 (+2)
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Trailer

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D/J, 2016, colour, video,
21 min., English
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A collection of quotes about uniqueness and individuality by celebrities and less known authors .
Images of a thickly settled, highly populated urban area and its architecture.

An encounter between collective and individual perspectives on singularity.

Edition

The film has the edition 7 (+2)
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Distribution

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D, 1981, colour, 16mm,
1.57 min., silent
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Karl Kels’s first film is a playful short piece comprised od shots of haystacks in the countryside. Quick repetition of frames and the dance-like rhythm in which the frames are combined create an illusion of movement within the single shot in which no actual movement takes place, save for one passing car. The combination of different images in short sequences forces a new reality upon the haystacks, making them move in every possible direction. Short as it is, this debut already puts its finger upon some of the characteristics that have remained of great importance throughout Kels‘ entire work so far: the inseparable world of the single frame and time as an artistic controlling device. (Myriam van Lier)

Edition

The film has the edition 3 (+1)
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D, 2006, colour, 35mm,
33 min., without dialog
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Take a strange journey along the Nome Road System in Alaska. Powerfully evocative imagery. Stark ambient sounds. A strange, dreamlike world. With assured direction the filmmaker creates a hypnotic rhythm, con-structs a poetic logic to the story and submerses us in an experimental doc that is both accessible and fasci-nating. The camera witnesses normal, prosaic activities: a man has a medical check-up; fish are skinned; a fun bathtub parade moves down main street – and throughout: the recurring, ever-present Nome Road Sys-tem. As an analysis of human activity within a landscape, the film brilliantly achieves a mute intensity. A small masterpiece.
(R.S., Planet in Focus – International Environmental Film & Videofestival Toronto, Canada)

Distribution

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D/AT, 1993, b&w, 35mm,
35 min., silent
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It is a question of order or disorder, cleanliness or dirtiness. The main protagonists are hippopotamuses (a male, a female and a baby—a family?) and two painters and keepers in charge of renovating and cleaning their pen. There are two backgrounds to this scene. One wall closes off the space the zoo has allotted to these animals, but two doors that slide open sideways open into another space, a deep space, the cage no doubt, inside the building that shelters the animals. Another setting is perceptible at times, that of water in which the wall, the doors and the hippopotamuses are reflected. This film confronts the spectator with a double challenge. On the one hand, a subtle interlacing of rhythms which simultaneously reveal the movements of these majestic and indolent animals, a purely cinematographic work using editing in order to organize a different time-frame. On the other hand, the scenes filmed from the front and in a fixed position rely on the absolute indifference these hippopotamuses show towards Karl Kels. This set-up, fleshed out by purely visual matter (blacks and whites, shades, reflections), is a brilliant questioning of the vision of the spectator who is invited to look closely: a sort of primitive scene in which the eye is stimulated and provoked by a non-spectacle built up into a cinematographic event. This holds right up until the last shot of a little black bird which flies away, free of any cinematic hold. (Jean Perret)

Edition

The film has the edition 7
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Distribution

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D/AT, 2014, colour, video,
12 min., German, engl. subtitles
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The film grapples with the past and present of a residential development built in the aftermath of World War II on the site of a former concentration camp. The housing development retained the erstwhile camp’s water supply, sewage system and roads, and reclaimed some of its materials.

Nürnberg and Peuker lets the viewer decide whether the Ebensee housing development symbolizes reclamation or historical denial.  Repurposing the land formerly occupied by the camp could be called a cleaning of the toxic emotional pollution of Nazi genocidal deeds.  An early reference to a Nazi rocket storage site now turned into a private firing range does suggest the conversion of Ebensee is neither an aberration nor unique.
Yet “Zement” leaves a pessimistic suspicion that an Important Historical Lesson has been ignored by Ebensee’s current residents.  The loud running of lawn mowers during a survivors’ commemoration ceremony certainly doesn’t suggest respect.   Teenagers’ air rifle shootings of visiting survivors feel more like realized socially unacceptable wishes rather than playfulness. (Peter Wong)

Edition

The film has the edition 4 (+2)
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Trailer

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D, 2006, colour, 35mm,
33 min., without dialog
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Sadly, our culture has come to expect a documentary film to be a set piece that rolls according to an accepted, well worn, trope—dare I say a „worn & tired“ narrative path? Get over it. This is the postmodern age. „Read“ the film as a set of poetic images and help construct your own reading of it. Get out of the box and engage in what Heidegger called an „act of poiesis“.
Prof. Pat Munday – Montana Tech, Butte

The portrait of a small town lying listlessly in the hills of an industrial zone presupposes characters, sets and sounds. But what is at stake is grasping an overall social, economic, cultural and psychological view that Rainer Komers organizes in an exemplary fashion. Not a single word of commentary or interview punctuates this—literally speaking—image film. Framed precisely in the detail of everyday life, close up or long shot, the images set out fragments that depict as much as they evoke of everything that will not be shown of this community that works, suffers and has fun.
Breathing tests, one of which is given at the beginning of the film, the manufacture of license plates, lasso exercises and contests dedicated to the most powerful workers, the exploration of an abandoned mine or an industrial ruin, or even a game of billiards or cards, impart a privileged space for meditation and reflection. Edited with the accomplished concern of a coherent, continuous narrative to the cadence of significant ruptures, (from the golf course to the big construction site, for instance), each of the shots is at work!
A film of surprisingly complex simplicity, Milltown, Montana is thus the story of a truly authentic place where people live until late at night in its bars. The following day they are again the actors of a spectacularly ordinary time that stretches between the end of an industrial era, the devastation of natural spaces, and the acts that go with daily chores.
(Jean Perret, Visions du Réel – Nyon)

Distribution

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