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Wyborny’s film is a startling modern take on Roman victor and dictator Lucius Cornelius Sulla. Combining traditional togas and contemporary casual clothes, the German director stages a visually puzzling balancing act between the Roman era and the present. He examines Sullas inner world and his distorted relationship to nature as well as the outer influences in his building of a nation. Juxtaposing the functions of Sullas body and mind, Wyborny has created a stunning portrait of the politician, in which he blurs the lines between advanced civilization and pornography.

2.51GB | 2h 01m | 1280×720 | mkv

https://nitro.download/view/2E636E5DAA2A901/Sulla.2003.720p.WEB-DL.AAC2.0.x264-KG.mkv

Language(s):German
Subtitles:English – hc

The post Klaus Wyborny – Sulla (2003) first appeared on Cinema of the World.

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Authentically ‘New’ German Cinema, and, simultaneously, an archaeology of narrative film itself, Wyborny’s avant-garde landmark defines cinema as a ‘nation’ that has perversely acquired rulers, laws and hierarchies before it has even been physically mapped out. At first appearing to spin an elementary yarn of social organisation (the predictably fraught establishment of a rudimentary commune in the Moroccan desert of 1911) in the ‘authoritative’ film language of DW Griffith, Wyborny proceeds to break down that language to its constituent elements and produce fragmentary hints of alternatives. Structural film-making of a rare wit and accessibility results, with flashes of appropriate absurdity highlighting the redundancy of closed systems, whether social or cinematic.

2.57GB | 1h 05mn | 1920×1080 | mkv

https://nitro.download/view/69B84E728FE296E/Die.Geburt.der.Nation.1973.1080p.WEB-DL.AAC2.0.x264-KG.mkv

Language:English
Subtitles:None

The post Klaus Wyborny – Die Geburt der Nation AKA The Birth of a Nation (1973) first appeared on Cinema of the World.

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In Wyborny’s ‘musical film’, every new sound triggers a new image: 6,299 shots, all directly edited within his Super-8 camera. An intoxicating, stroboscopic trip to industrial, natural and urban landscapes in East Africa, New York, the Ruhr district and Rimini.

This experimental music film refers to Oswald Spengler’s world-famous philosophical work Der Untergang des Abendslandes (The Decay of the West, 1918). Culture pessimist Spengler argues that progress is an illusion and that the modern era brings little good. People are no longer able to understand the rationality of the world. Wyborny did not set out to make a film version of Spengler’s theories, but rather a visual reflection on the modern age; a stroboscopic journey in five parts to industrial, natural and urban landscapes. He uses 6,299 shots, edited directly in a Super8 camera. Each piano note and violin vibrato evokes a new image: demolished buildings, rubble, destruction and nature, all shot between 1979 and 2010 in locations such as New York, the Ruhr, Hamburg, East Africa and Rimini. This film forms a counterpart to Wyborny’s previous films series Eine andere Welt. Lieder der Erde II (2004/2005).

http://nitroflare.com/view/C5C4A665786211C/Klaus_Wyborny_-_%281979%E2%80%932010%29_Studies_for_the_Decay_of_the_West_%28Song_of_the_Earth%2C_Appendix%29.mkv

Language(s):English
Subtitles:None

The post Klaus Wyborny – Studien zum Untergang des Abendlands AKA Studies for the Decay of the West (Song of the Earth, Appendix) (1979–2010) first appeared on Cinema of the World.

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For 50 minutes or so Pictures presents a series of static, or gently swaying images which are sometimes bucolic landscapes but more often industrial ones (sludgy harbours, power lines, abandoned railway stations or deserted factories). The interplay between the two sets of imagery is not simple. Wyborny photographs his modern ruins at their most ravishing – at dawn or sunset, partially reflected in the water or glimpsed through the trees. Shots recur throughout, optically printed into brilliant colours or else, given the washed out quality of fifth generation Xeroxes. As there are few people shown, one’s impression is of a planet that is populated mainly by cows, barges and hydraulic drills.

On the soundtrack, a pianist improvises a slow, chord-heavy piece that adds to an overall sense of lush melancholy. Towards the end, Wyborny begins to parody his own nostalgia. The images repeat in rapid-fire clusters while the pianist switches to a maddening seven-note phrase, playing it over and over, like a record stuck in a groove. In its mock symphonic form, the film is an ironic exaltation of the ‘pastoral ideal’ (still a strong strain in both British and German avant-garde films) as it celebrates the entropic beauty of the same infernal mills that drove Wordsworth in the countryside and Schiller to decry the ‘degeneration’ of European culture.’

DVD includes two version of the film, one with English voice-over, the other with German voice-over; note that only part of the film has spoken voice-over.

http://nitroflare.com/view/7827E9C83BAC012/Part_1.mkv
http://nitroflare.com/view/82D7CA392C53C8A/Part_2.mkv

Language(s):English, German
Subtitles:None

The post Klaus Wyborny – Bilder vom verlorenen Wort AKA Pictures of the Lost World (1971–1975) first appeared on Cinema of the World.