The traditional and modest life in deep rural Crete. A film on the verge of traditional documentary film and an attempt to find a new direction in terms of what documentary film could be. An envious look at contemporary works by his fellow filmmakers from the British Free Cinema, obviously spurred on director Pitt Koch’s ambition.Read More »
Last of a trilogy
“KEHRAUS, Again” was made in 2006, another ten years have passed since the last film and Stefan and Marlen are no longer alive. Gabi makes it through and her now grown-up children are faced with the realities of their own childhood. Henry and Marion have settled in. The grandchild generation has already been placed in foster families. “You live like this…”
“The film has become an “unintentional” – never actually planned – long-term observation, because I wished for a happy ending with every film. Reality has produced this stuff in 16 years.” G.K.Read More »
Detten Schleiermacher did not start making films until late in life. He was actually a typographer.
With “Trab Trab” he made an impish attempt to create a synthesis between Dadaism and New Objectivity. The film is a precise and elegant account of a racecourse. It does so without narration or images of either horses or patrons; everything we see has been captured either pre- or post-race.Read More »
The second-to-last of the TV plays made by Beckett for the broadcaster Süddeutscher Rundfunk (SDR) in Stuttgart is a reduced black-and-white vision containing the following elements: evening light, dreamer (A), dreamed ego (B), dreamed hands R (right) and L (left). Again, Samuel Beckett is operating with minimalist variations and blurred grey tones. In the first shot, the camera is static. The dreamer hears from the wings the last notes of a ‘lied’ – Schubert’s identically titled ‘Night and Dreams’ – and then rests his head in his hands. His dreamed image drinks, a hand pats his forehead, another hand holds his hand, his head sinks down onto the table, a hand is placed on his head. This sequence is repeated, with Becket varying the dream sequences as full-size images.Read More »
In the last completed work of the Irish playwright, we see five supposedly different faces on a TV screen that are gradually blended together.
Read More »
A man is waiting, reading a newspaper, looking out of the window, etc., seen first at distance, then again in close-up, and the close-up forces a very intense kind of intimacy. His face, gestures, little sounds. Tired of waiting he ends up getting into bed. The close-up enters into the bed. No words or very few. Perhaps just a few murmurs.Read More »
After putting on stage a dialogue between actor and tape recording in Krapp’s Last Tape in 1958, Beckett went one step further when aged over sixty and made plays for television. Between 1966 and 1985, he produced with Süddeutsche Rundfunk four television dramas which in their intensity and radical reduction are related with the video art of the period.Read More »
