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1-9 of 9
- Flaming Ears is a pop sci-fi lesbian fantasy feature set in the year 2700 in the fictive burned-out city of Asche. It follows the tangled lives of three women - Volley, Nun and Spy.
- Film ist. consists almost entirely of excerpts from various scientific films. This footage shows the flight of pigeons, intelligence test performed on apes, upside-down worlds and stereoscopic vision, hurricanes and effect of shock waves. How glass breaks, how small children walk and a Mercedes crashing into a brick wall in slow motion.
- It appears as if the "world's loss of magic" which Max Weber talked about has reached a climax and provoked a counter reaction. The interest in inexplicable phenomena is growing, something which can even be measured by the propensity of those unerring trend barometers, the television stations, to broadcast a fill of material of this nature. Paranormal phenomena manifest a remainder from the factual world which cannot be explained. They represent another dimension which requires a "medium", be it human or technical, in order to be perceived. The film Paranormal undertakes research in the milieu of borderline science as a parallel activity. The filmmakers seek out experts and amateurs in the field of the supernatural and ask them to explain the methods by which they make contact with the "cosmic information web". The necessary apparatus forms the central part of the report. In their search for "units of sense" in the chaos, the researchers use, interestingly enough, those techniques which are presently central to popular culture de-construction, sampling and scratching. Parallel to this Lampalzer / Oppermann also undertake their own experiments by various cinematographic means, ranging from single frame photography to a manipulated Super 8 camera. The failure to make contact is shown partly ironic and partly laconic. The end is left open to interpretation unexposed film material hung in a tree becomes an ambiguous sign.
- A fisherwoman wades through the river and briefly stops to lift up her apron to urinate, and then again, to lift onto her shoulders the body of someone who has drowned, caught between the stones, then everything becomes clear: this woman is capable of doing anything...
- A personal audio-visual notebook from Tibet (1988 - 1995). The everyday things, the breathtaking light, the enoyment of the common, the second look, the love for the detail, memories.
- Somo, sushi, surround sound, pictures and sounds seen and heard in Tokyo, Osaka, Hakodate and Kyoto, recorded in trains and gardens, on the street and in the rain. Everyday moments whose piercing beauty can only be discovered by someone (to use the words of Walter Benjamin) with the sharpened sensibilities of the flâneur who looks for pictures 'wherever they are to be found'. manga train builds on the basis of a musical structure - announcements from loudspeakers, the clacking of pachinko balls, muted voices, music from transistor radios or the never-ending thunder of traffic on a major road. All of these determine the rhythm of the film which consists of thirty takes each of eight seconds duration. They were filmed as steady shots and run at one fifth normal speed. The framing of the shots, the spacing and the movements were, so to say, broken down into their constituent elements so that in the blink of an eye they can intensify to a wealth of new details and associations. This effect is most effective when there is an appearance of crass disparity between picture and sound. Two young men in the park dance obliviously to an Elvis song, in contrast riding an escalator sounds like acoustic excess. Another instance - the camera stares fixedly at a partly weathered reddish mud-brick wall in Rioanji and only the devout murmuring of the visitors allows the viewer to entertain doubts that he is looking at a painting from an impressionist masterpiece. manga train is a 'personal film album' said Manfred Neuwirth, 'an album to leaf through. My associations with Japan: with wonder in the heart'.