Quote:
“My intention was none other than to instill in people a loathing for the fabricated and nonsensical stories of entertainment films, which are already wavering due to my genuine heroes and will undoubtedly soon collapse completely. Thus, Mirador gives cinematic form and effectiveness to our demand: the demand for the suppression of feature films that corrupt the people’s imagination. This film opposes the absurdity and extravagance of the same recurring fantastic adventures and deeds of gangsters, cowboys, handsome men, monsters, etc.; the formulaic and inorganic nature of the plot and intrigue, the black-and-white portrayal of the characters, and indeed, the psychological shortcomings – in short, the distortion of the realities of life and the laws of art. The realistic and critical spirit of the film Mirador fights against the devastating effect of such extravagances on the imagination of immature people.” — Werner Nekes.

Mirador (Werner Nekes, 1978).mkv

General
Container:  	Matroska
Runtime: 	1 h 19 min
Size: 	1.77 GiB
Video
Codec: 	h264
Resolution: 	720x576 ~> 768x576
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	
BPP: 	
Audio
#1:  	English 2.0ch AAC LC

https://nitro.download/view/04007E94A789491/Mirador_(Werner_Nekes,_1978).mkv

Language(s):None
Subtitles:None

The post Werner Nekes – Mirador (1978) first appeared on Cinema of the World.

Quote:
The film is a Homeric journey through the history of cinema. Its theme is based on the mythological Odysseus of Homer, the Ulysses of James Joyce, and the synthetic figure, Telemach/Phil, from the 24-hour-long piece «The Warp,» by Neil Oram. Werner Nekes combines these three figures, and he shows their stories within the history of «lighterature,» writing with light = film. His central theme, however, is visual language in of itself: Odysseus/Bloom is transformed into Uli the Photographer, Penelope/Molly into his model, and Telemach/Stephen into Phil, who begins his «Telemachia». The connecting of their three lives occurs during the course of a single day, in September of 1980, in Germany’s industrial Ruhrgebiet region, preceding the elections in the Federal Republic.

1.87GB | 1 h 30 min | 760×570 | mkv

https://nitro.download/view/93FA0B59F1C12FB/Werner_Nekes_-_(1982)_Uliisses.mkv

Language(s):English, German
Subtitles:None

The post Werner Nekes – Uliisses (1982) first appeared on Cinema of the World.

Quote:
“…What sounds rather bookish and intimidating, in fact unfolds an enormous sensual stimulus on screen. In more than 20 sequences, based in part on work by Stifter and Camus, Hamburg’s experimental film director and a number of students from Braunschweig and Göttingen demonstrate a higher school of hearing and seeing. With manipulations of sight and sound, which are at times highly complex and mathematically precise, he shows the tension between optical and acoustic elements, inventing ever new combinations from which an abstract poetry issues forth. Nekes works with single frame mechanism and multiple copying of the images, thus defamiliarizing the sound at the same time. The title of the film pertains to Jonathan Swift’s ‘Gulliver’s Travels’. Lagado is the name of the academy in which scientists of the most diverse disciplines work at strange projects.” – Hans C. Blumenberg

1.36GB | 1 h 15 min | 712×570 | mkv

https://nitro.download/view/9EFDDDFAD539F1E/Werner_Nekes_-_(1977)_Lagado.mkv

Language(s):German
Subtitles:English (hardcoded)

The post Werner Nekes – Lagado (1977) first appeared on Cinema of the World.

Quote:
“Diwan, a lyric anthology, an outdoor movie with people. With people living in the surrounding precious and very beautifully photographed nature, are neither more nor less than one part of it. What Nekes manages there with landscape, as a cunning and quote many fine artist in a medium that runs in time, as he defeated the time changed, by themselves for change of scenery uses, as it interferes with the laws of chronology through the rewind ability of the camera or destroyed, which is a compelling and highly aesthetic experimental company.”

1.52GB | 1 h 22 min | 745×574 | mkv

https://nitro.download/view/88D968413BE1EFA/Werner_Nekes_-_(1974)_Diwan.mkv

Language(s):None
Subtitles:None

The post Werner Nekes – Diwan (1974) first appeared on Cinema of the World.

Quote:
“The title refers to Japanese landscape painting on rolls. Furthermore it indicates the film’s theme, the balance of colors (blurred tones of blue, green and grey) and the type of montage that gives priority to continuity of development rather than to disruption and contrast. This continuity is achieved by dissolvings and double exposures and by extremely long pans. The rhythm accelerates: a meditation on landscape, which unfolds before the eye or is visually paced out, gives way to fluidity and pure motion, to a feeling of dizziness, the result of two contrasting camera movements. The world resembles a reflection in the water; then, however, rapid montage creates a calligraphy consisting of the quick and sharp black strokes of a Hartung painting, until one finally arrives at the glittering simplicity of an early movie where each frame still retains the weight of its individual tracks, of earth and of the world. Anthony Moore’s Soundtrack strikingly agrees with the images presented and by means of three consecutive modulations bestows unto them the structure of a concerto.”
– Helmuth Fenster

851MB | 36 min 7 s | 765×574 | mkv

https://nitro.download/view/A2F5471FA9BBEFF/Werner_Nekes_-_(1974)_Makimono.mkv

Language:None
Subtitles:None

The post Werner Nekes – Makimono (1974) first appeared on Cinema of the World.

T – WO – MEN
Germany, 1972, sound, colour, 90 mins, 16mm. Sound by Anthony Moore. With Geeske Hof-Helmers and Dore O.

Werner Nekes: a short comment on the aesthetic organisation of T-wo-men: The orthography of the title refers to the ‘horizontal readability’ of film. The tiniest film information is an amalgamation of two individual images in the mind of the recipient. Cader A joins up with Cader B to achieve the thaumatropic effect, to a form a ‘cine’, the smallest transmission element of cinematic information. If one wants to arrive at conclusions concerning cinematic ‘language’, one must analyse this element, the ‘cine’ or groups of the same. Just as image A forms a compound with image B, thus simultaneously, image B combines with image C. The ‘cine’ is determined by the exact difference (in the sense of information theory) between Cader A and Cader B. The identity of two Caders, in other words, no difference whatsoever creates an illusion of a ‘standstill’ a slight difference, that of motion and a maximal difference, that of a complete merging of forms. Part 1,2 and 4 are examples for ‘horizontal’, parts 3 and 5 for horizontal and vertical readability of film.”

“The film consists of five parts which differ trechantly in rhythm and structure. In part one the viewer is subtly put in an erotic mood: shoes and legs are shown, parts of a faded dress, two pale marble faces. This hovering, floating part is succeeded – even in music – by hard, quick pop rhythm (part 2). Images changing in split seconds, isolated shots. The third part uses super-impository techniques (up to five layers). Just as in the films of his wife, Dore O., repetition of certain elements (the surge of the sea, a certain street motif) evokes a chain of associations: parting and separation. The final part combines both in music and in image all motifs struck up so far. A difficult film, driving viewers from the cinema. Technically admirable and daring. Nekes belongs to the underground of film. It is here that innovations of stylistic means originate.” – Brigitte Jeremias, Frankfurter Allgemeine Zeitung, Oct 17 1972.

Werner Nekes has done some of the most interesting film work in Germany, with over twenty-five films completed to date….T-wo-men uses this basic emphasis on the horizontal or diachronic movement from one frame to another against a vertical or synchronic movement of superimposed levels of the frames to set up intense activity within the smallest possible moments of viewing time.” – John du Cane Time Out, August 1973.

For Nekes these are the principles of filmic organisation: real environment, mostly landscapes, is transformed into artificial images by means of complicated camera and montage techniques…The technique of dissection and re-combination of image material by single-frame, multi exposures, space and time intervals during the shooting of the same area, are all variously applied in T-wo-men…A certain insecurity in his concept becomes apparent in that in each film title he mentions the actors, although they are mostly unrecognisable because of their shadowy appearance, and fulfil no obvious function. These ‘actors’ are usually Nekes himself, his wife, child and friends. He tries to bring personal experience into the film by naming the actors and thus recalling the actual events of the shooting. The formal aspect seems to be insufficient, and he therefore tries to enrich it by emotional values which do not lie in the film but are referred to it from outside.. Nekes sees the means for the structural extension of image language in ‘polyvisuality’, ‘image cluster’ and ‘camera movement which is determined by space co-ordinates’. This extended language of images is for him a way of starting to ‘change the minds (thinking) of the recipients, by changes in the medium’.

1.82GB | 1 h 23 min | 768×576 | mkv

https://nitro.download/view/357E1DE347E693C/Werner_Nekes_-_(1972)_T-WO-MEN.mkv
or
https://fikper.com/YKvQwvCpWU/Werner_Nekes_-_(1972)_T-WO-MEN.mkv.html

Language:None
Subtitles:None

The post Werner Nekes – T-Wo-Men (1972) first appeared on Cinema of the World.

Quote:
“A long setting of a basement window to the street. Slower and stopping down the street brothers in Hamburg (where Nekes lives). A stand of the belly of a girl on her legs and her dress. Then, vagina and penis, as they are complementary. The 60-minute film is silent. The canvas, as in previous Nekes movies, to the canvas of the painter. It does not look in an imaginary space, one sees an area that is divided divided, with each cut and replaced by a new canvas. In particular, an impression: strong, cool calculation. It stands there like a block. Immovable. The picture is so much that it is beyond the linguistically appropriate formulation. One must see that.” – Werner Kließ

1.28GB | 56 min 59 s | 765×574 | mkv

https://nitro.download/view/2FD1E802235164A/Werner_Nekes_-_(1968)_Kelek.mkv

Language:None
Subtitles:None

The post Werner Nekes – Kelek (1969) first appeared on Cinema of the World.