2001-2010

A mill owner in the Sudetenland and his family’s lives are changed as Europe heats up in 1938.

Habermann (Czech: Habermannův mlýn) is a 2010 Czech-German-Austrian drama film directed by Juraj Herz. In the story, a German mill owner in the Sudetenland and his family’s lives are changed as Europe heats up in 1938.

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The German-Czech-Austrian production “Habermann” is being marketed — with the tagline “War is over; vengeance has begun” — as a look at a corner of history that is little known in America: the expulsion of millions of ethnic German civilians from parts of Europe after World War II. It’s a tricky tale to tell; the film’s opening and closing scenes of Germans in Czechoslovakia being rounded up and loaded onto trains consciously echo the familiar imagery of Jews being sent to Nazi concentration camps.Read More »

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With only the plan of moving in together after high school, two unusually devious friends seek direction in life. As a mere gag, they respond to a man’s newspaper ad for a date, only to find it will greatly complicate their lives.Read More »

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One day Kyoko watches television and sees a man turning himself in to the police after murdering a family. Something within Kyoko connects with the man, as she recognizes a similar soul. Despite the worries of the killer’s lawyer, she approaches the killer and the two start corresponding…Read More »

Based on a true character, GIE is a central yet unknown political activist/writer in the 60’s, the darkest era of Indonesian history. His life is a clash between a high drama of political events, and small world of friendship and romance. He is falling apart when he sees that his constant battle for justice and truth gives labor to another dictatorial regime. As time passes the people around him adjust to the new regime, but he continues to fight. His uncompromised idealism drives people away. His friends left him; the woman he loves rejects him. Only the beauty of nature can rescue and free him.Read More »

Hamlet is going crazy. His father has died suddenly of a strange disease, and his mother has married her deceased husband’s brother, of all people, after just one month. Hamlet has nighttime visions of his father, who claims his brother poisoned him, and exhorts Hamlet to take revenge and kill his new stepfather. Hamlet acts the part of the crazy man in order to hide his plans, and loses his grip on reality in the process. The whole world becomes a stagnant swamp to him. Desire and sexuality become a threatening abyss. The friends surrounding him turn out to be spies deployed by his stepfather to keep an eye on him. Read More »

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In 2006 The Otolith were commissioned by the Dutch curatorial platform If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, Kunsten Festival Des Arts and Argos in Brussels, and Casco Projects in Utrecht to develop the next episode in the Otolith Trilogy. The work was developed over one year with a series of events that explored our research and methodology. The Video was filmed in Dharavi in Mumbai, in the state of Maharashtra, in Chandigargh in the state of Punjab and in London.Read More »

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The power of co-incidence is explored to dramatic effect in The Edge Of Heaven, a Turkish-German production about two deaths that bring strangers together. Once the opening titles warn us of “Yeter’s Death”, we see Turkish prostitute Yeter meeting an elderly client, Ali, in Germany and watch her fate unfold. Shifting to Turkey and Germany and back again, this spirited, beautifully-acted drama follows both Ali’s son and Yeter’s daughter in the wake of the tragedy.Read More »

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Sallitt has written repeatedly that his favorite director is Howard Hawks. All the Ships at Sea shows the influence of Hawks. The story telling is vigorous, the characters are rich, and the logically constructed story development is character-centered, showing vivid interactions between the principal performers. Both sisters are get-up-and-go types in the Hawks tradition. The older sister spends the entire film, taking every action she can to help the younger sister, who is in trouble. She also tries to help other people, in the course of the film. The younger sister is less functional, being in the grip of a religious cult. But the film stresses the younger sister’s willingness to take personal action in accordance with her religious convictions. She is not passive or a victim; she is a person who stands up for what she thinks is right.Read More »

Aryan Kaganof & Nicola Deane | 2003 | 5 min. | video | no dialogue

“We cannot abstain from watching the revelation of a being that would be an object neither for herself nor for any other gaze and yet which would effect, in the mystery of her own invisibility, the condensation of all objectivity.”

Aryan Kaganof plays with the contradiction and relationship between the vulnerable, private realm and the voyeuristic, objectified domain in a film about a young woman’s sexual initiation.Read More »