Experimental

Vrääth Öhner wrote:
Key West is located near the southern tip of Florida, not far from Key Largo. In contrast to Key Largo (John Huston, USA 1948), Key West has no need of gangsters to reveal this paradise on earth to be an illusion. Looking back from a distance of nearly 50 years, it is sufficient to reconnect those images which – each in itself – represented a longing view of this paradise: images of boat-like cars sailing down the highway, of bikini-clad girls on the beach, of surfers riding the waves. A moral lesson? Possibly.Read More »

Quote:
‘Finding similarities in the pulses and shapes between my own experiments in night photography, lightning storms, and night bombing in World War II, I constructed the war at home. — PSS, Canyon Cinema catalog 1992Read More »

Quote:
Morning reveals New York harbor, the wharves, the Brooklyn Bridge. A ferry boat docks, disgorging its huddled mass. People move briskly along Wall St. or stroll more languorously through a cemetery. Ranks of skyscrapers extrude columns of smoke and steam. In plain view. Or framed, as through a balustrade. A crane promotes the city’s upward progress, as an ironworker balances on a high beam. A locomotive in a railway yard prepares to depart, while an arriving ocean liner jostles with attentive tugboats. Fading sunlight is reflected in the waters of the harbor… The imagery is interspersed with quotations from Walt Whitman, who is left unnamed.Read More »

THE MURDER MYSTERY 1987/92, 16 min
BLICKLUST 1992, 16 min
PARTY 1995, 17 min
MACUMBA 1995, 18 min
CORRIDOR 1997, 18 min
ORGANICS 1998/99, 17 min
BONUSTRACK: INTERVIEW MIT DIETMAR BREHM 2000, 8:30 min (TIV-TV station)

Even though the six films function perfectly well as individual works, I always had the feeling
of filming a single work. The source of inspiration was much of the historical Roman literature I read.
From this sprang the motivation for the sombre-sexual treatment of the pumping-screen body portrayals.
In the end we are all living corpses and very soon dead again
Dietmar BrehmRead More »

Quote:
A humorously distorted version of the life of Shirley Temple, and described by its director as a terrorist musical. Shirley Temple sets off for the Emerald City to tell the Wizard that she is upset that Judy Garland has been selected for the role of Dorothy in The Wizard of Oz. On this trip she is accompanied by a group of characters who make reference to a fragmented, bipolar society. The film was begun as Franco was ill and completed after his death, and makes reference to the oppression of Spain during this period.Read More »

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“The filmmaker took several different scenes shot earlier between 1896 and 1899 and double-printed two sets of images together to create a new artistic creation. The transformation of a stage dance into a unique ciné-dance could only be possible in cinema – Bruce PosnerRead More »

Quote:
“The filmmaker took several different scenes shot earlier between 1896 and 1899 and double-printed two sets of images together to create a new artistic creation. The transformation of a stage dance into a unique ciné-dance could only be possible in cinema – Bruce PosnerRead More »

Quote:
“This satire on religious pretension was collaboration between the Group Theater and the newly formed Nykino. Its creation of a self-reflexive illusion within an illusion distinguishes it not only from the commercial cinema but from various arenas of experimental and revolutionary film that had developed by 1934.” – Scott MacDonaldRead More »

Quote:
In Per Kirkeby’s set with a blue backdrop beside a woodland lake Lene Adler Petersen pronounces Ophelia’s madness monologue from Hamlet, but she is constantly interrupted by the sound of two wooden blocks and has to start again: “There’s rosemary, that’s for remembrance …” The words thereby rapidly lose their meaning and our interest turns to the specific sounds emerging from Adler Petersen’s lips and the choreographed ways she touches her face. The film starts and ends classically with a zoom in from an establishing shot and a zoom out onto a concluding tableau in which Ophelia throws herself into the lake, but in between the film is experimental, with two cameras on tracks abiding by a carefully conceived but highly impenetrable system. The frame thus changes apparently according to signals from Leth, and occasionally the camera seems to track right off the set into the sylvan wilderness. At its premiere at the Carlton it was shown before Roman Polanski’s Dance of the vampires.Read More »