Architecture

Sixty one-minute shots of Milwaukee (Wisconsin). No camera movement. Frontal staging of tiny (often funny or made funny) events. The same locations (and same actors ?) 27 years later, changed. The same sound too, unchanged.Read More »

The ‘Casa do Povo’ cultural centre in São Paulo, an icon of the secular Jewish workers’ movement: a crumbling theatre flanked by staircases, entryways and corridors. Construction noise drones away in the background, clinking crockery, a broom sweeping over tiled floors, an expressive façade of countless adjustable panes of glass covered by a patina. It’s October 2016 and a group of young people are preparing a preview of Bickels [Socialism]. The venue is to form a prologue to the completed film, which tours 22 buildings in Israel designed by Samuel Bickels, most of which for kibbutzim. Dining halls, children’s houses, agricultural buildings, bright structures inserted into the Mediterranean landscape with great ingenuity.Read More »

Celebrated for his rigorous films about the experience of architecture (Schindler’s Houses, Loos Ornamental), Heinz Emigholz launches a new chapter of his “Photography and Beyond” project with an ambitious four-film cycle titled “Streetscapes” (which premiered to great acclaim at the recent Berlinale). The first installment is an open-ended response to Godard’s One Plus One, which chronicled the Rolling Stones in the studio at the height of the 1960s counterculture. This 21st-century update documents the German post-rock band Kreidler at work on their album ABC in a wood-paneled hall in Tbilisi, Georgia. Throughout Emigholz cuts to shots of the city streets outside and to the briskly leafed pages of his densely illustrated notebooks, while a voiceover ruminates on the nature of art and desire.Read More »

Synopsis:
Homo Sapiens is a film about the finiteness and fragility of human existence and the end of the industrial age, and what it means to be a human being. What will remain of our lives after we’re gone? Empty spaces, ruins, cities increasingly overgrown with vegetation, crumbling asphalt: the areas we currently inhabit, though humanity has disappeared. Now abandoned and decaying, gradually reclaimed by nature after being taken from it so long ago. Homo Sapiens is an ode to humanity as seen from a possible future scenario. It intends to sharpen our eyes for the here and now, and our consciousness of the present.Read More »

Quote:
An American architect arrives in Italy, supervising an expedition for a French architect, Boullée, who is famous for his oval structures. Through the course of 9 months he becomes obsessed with his belly, suffers severe stomach pains, loses his wife, his unborn child and finally his own expedition.Read More »

Quote:
The initial inspiration for the film was an outdoor glass elevator and the visual, spatial and gravitational possibilities it presented me with. The work was also informed by an interest in panoramas, the urban landscape, as well as the topography of San Francisco. Finally, the shape and character of the work was tempered by reflections upon a lifetime of displacement, moving from place to place and haunted by recurring memories of other places I once passed through.

“… Gehr gives us an expansive view of the relationship between architecture, city streets and the movement on them, the medium of cinema, and patterns of thought.” – Fred Camper, Chicago Reader, February 17, 1995
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When, in 1947, a portion of Punjab province was assigned to the newly created
Pakistani State, Albert Mayer began planning a new capital for the portion which
remained in the possession of India. Le Corbusier had been responsible since the
1950s for general planning and, more particularly, for large-scale buildings typical
of the governmental sector. A year after the death of Le Corbusier, Alain Tanner
began shooting his film in a city still partially under construction, or even, in certain
places, at the planning stage. The inhabitants of the metropolis, however, already
numbered some 120,000.Read More »