This was supposed to be a trial film for the artist to test her defective camera. In Allegory, Friedl vom Gröller stands in the foreground of the scene, anxiously looking into the camera. A circle of women behind her gradually lends the film movement, as their initial earnestness gives way and...
Paris in June 2009. The title leads us to expect a personal diary entry made in a city that has often been used as a setting for ideas of love. In Gröller´s short film, which does nothing to conceal the excitement, the romantically charged eroticism becomes a gentle but undisguised form of...
Like a dark screen stencil, a young woman dances in front of an open window. Although the film is silent, the rhythm of the music to which she dances can be imagined through her movements, often ecstatic.
NEC SPE, NEC METU follows upon Gutes Ende (Bliss) and Ich auch, auch, ich auch (Me too, too, me too), and it is the third film of Friedl vom Gröller to record visits to her mother in a nursing home. Like the life of her mother, the film itself is consumed by an involuntary force accelerating like...
The title appears in thick boldface print. A short sequence of documentary snapshots, filmed off found paintings. These images pick up on figures from everyday life and religious practice, and according to the signature, were painted on public walls by a certain “Papisto Boy”. Two men are seen...
Playing a part or stepping outside it. Lisa, who looks like Friedl vom Gröller´s sister, practises looking into the camera. She adjusts her gestures according to a vocabulary of expressions that has more to do with pain than joy. Only when the filmmaker joins her in the picture does the inscribed...
Filmed photo portraits Erwin, Toni, Ilse, is one of Friedl Kubelka’s first films. Influenced by the Nouvelle Vague and Existentialism, it was shot in the late 1960s at 16 frames per second and have not been edited.
It's composed of multiple jump-cut close-ups of a beautiful Roman Bacchante bust with garland braid and vacant eyes in the Louvre, as students and patrons mill about in the grand gallery flooded with light, casting their gaze upon the classical figure holding a basket of grapes.
