A silent, black and white film portrait of two children set against the eponymous Swiss river, Ticino takes its cue from Franz West's famous "Adaptives" sculptures.
A salon piece in black and white. The filmmaker circles the amorous play. Gestures and blurs, intuitively precise in-camera edits condense the situation of debauchery and digression.
Five older women, loosely grouped in two rows, gaze into the camera. At times only details of their faces can be seen, a sixth woman walks through the picture, joins the others. The image flickers briefly, disappears, and the scene begins again from the start, this time with a slightly displaced...
Friedl vom Gröller´s Rust starts by gazing into the strained face of the saint. The artist herself reads "Holzschnitt", or woodcut, rather as "Höllenszene", a scene of Hell – perhaps because it appears as if animate nature is trying to force the giant to the ground. Gradually emerging from...
“La mia Camera” means my room, a balcony with curtains, (and my film camera). The main characters are the wind and its dancing playmate, the curtain. The wind always needs a partner, otherwise it cannot appear. On this hot summer day he shows his exuberant, wanton, but also thoughtful,...
Although this film does not follow the genre of the city portrait in any way whatsoever, it nonetheless presents a documentation of the filmmaker´s sojourn in Rome. The starting point is relicts of an empire already ruled by a culture of travel and by tourism, its centuries-old structures; their...
Four young women present themselves seductively, self confidently and with some signs of shame. The camera´s low angle creates – in spite of feminism – a provocative image of Eva’s everlasting attraction.
May 2012 is composed of three visual elements. In the momentary opening shot the camera spies on riverside joggers from the Donaumarina U-Bahn station. Inside a nearby care home, two elderly women are eating. One is the artist´s mother. She stares into the camera, from where a loving hand reaches...
The continuation of a portrait of Gaelle Obiegly. The focus of the film is not a portrait, but rather a wide variety of cable cords in a cellar, attached to diverse light sources. A pageboy, a film projector, the person named in the title, and three other women.
A young man spitting cherry pits, with an off-screen accomplice, attempts to hit the camera´s lens with one of them. Various moods become apparent on the way to a certain goal: effort, failure, then finally success. A happy, lighthearted film.
A pan along a gallery of large washing machines in a laundromat. Two women speak sign language and a third feeds coins into the machine. Language is made visible. Language is a craft and serves to interpret what is and what might perhaps be. A silent film from a mythical universe, a realm of women...
Past the newsstand, the hairdressers, by the dry cleaners. A door opens into a sick room. A very old woman lies there in her bed. Her body is lusterless and haggard. But her gaze is firm, withstanding that of the camera.
Im Wiener Prater is not about the amusement park that one normally associates with this name. The spectacle in the film takes place in a much more basic sense. Right at the start, we see a camera tripod left standing, and instead, the filmmaker has set off to track down a woman (artist Martina L.)....
The lovesick Jelena spends her afternoons strolling among the tombs and leafless trees at Père-Lachaise cemetery. As she sings Françoise Hardy’s “Tous les garçons et les filles”, one old grave depicting a couple draws her attention.
