A young woman sits in a room with red walls. One step over the threshold and a mystical journey through the Green Desert begins. The film deals with the potential of crises to reinvent our imaginations for new futures. Green Desert shows an existential walk through vast and empty, green landscapes with strange encounters. This world seems rigid and alienated but: there is still space for hope and radical dreams.
A short observational film about an evening spent in the woods in Brandenburg, Germany. A train passes, a curious dog says hello, and the crickets begin to chirp as the night draws in. Filmed whilst staying at the KuBa (Kulturbahnhof) artist residency.
„Holladio hods gsogt“ is a music video project in which women* have their say and take a stand on everyday sexism, misogyny and sexual harassment. The intention is to create awareness for the topics of catcalling and sexual harassment in public space.
During quarantine, the director has been invited to make a film about her lockdown experience.
To face this challenge, she draws images from her memory —and archive—, to remind herself which way to move.
“How to shoot flowers” is a personal essay film where artistic creation and personal expression become the medium to think and process life.
The result is an essay film about filmmaking and life as a creative act.
“I am Hydra” is a hydrofeminist spell to end the petrocapitalist age. The film is shot in Norway and Denmark, its opening scene is from Skagen where two oceans meet (the Northern Sea and the Baltic Sea), and the film juxtaposes footage from the Norwegian oil industry with the forever self-regenerating Hydra species while referencing the mythological multi-headed Hydra-creature. The soundscape is by cello musician Einar Halle in collaboration with Gunnar Halle.
I woke up in a hammock and I couldn’t move (Hablar de la selva sin usar las palabras serpiente y jaguar)
Motionless awakening in a hammock sets the scene for a journey into the deepest parts of the immense forest, equally leading into the depths of human condition. Our innermost desires, fears and abysses are juxtaposed with the richness of plants and creatures. Who wants to enter the thicket will first be thrown back on their own guts.
In 1984 Austrian performance artist and filmmaker VALIE EXPORT realized the television series The armed eye – VALIE EXPORT in dialogue with the film avant-garde. Excerpts from this experimental mediation format, in which VALIE EXPORT also acts as a moderator, served as base material for a text-based piece of video work.
By transcribing her presentations and fragmenting them into individual words, a new narrative was constructed, which is then recited in the video. By editing the archival material on a very small scale, I was also able to let VALIE EXPORT “speak” my anagrammatic text. The video Im Dialog interweaves these two versions of a lecture.
By doubling a monolouge and linking past and present, I refer to VALIE EXPORT’s idea of a “dialogue with the film-avantgarde”. The text reflects the process of creating the video work, thus explaining itself, but also asking questions: What happened to the ideas of the avant-garde? What is left to say when everything has already been said? And who is actually speaking here?
The film was shot on a regular 8mm camera and is presented in unslit form as 16mm, a screening format commonly referred to as double 8mm.
When I first came into contact with this medium, I was deeply attracted by its miniature size. Eight millimetres is a very small space on which to store images. It reminds me of all kinds of things from childhood: ephemeral, wonderful, changeable. Recalling that as a child I spent most of my time with my nanny, I decided to zoom in on daily life, especially trivial household chores. At the same time, the particles and dust of the childhood world are magnified.
In no rush to get anywhere (Sin prisa por llegar a ninguna parte)
The film is intended to focus attention on the fact that presumably no future scenario can be perfect, and a certain turmoil will always remain. The outward appearance is merely a shell that conceals constantly recurring problems.
INCERT is an experimental animated short that looks at current political and social developments and shows them in their extreme form. The title INCERT consists of the words “invert” and “uncertain,” or “certain.”
A nightmare. Being trapped. When the outside world becomes an absurd and aggressive hum. When you retreat in a deceivingly comfortable coccoon, not really knowing who you are anymore. Alone… facing the inside. We’ve all been struggling with such feelings during the past two years… a period that feels like an eerie dream. This short movie was shot in isolation, during the second French lockdown.
Written and directed by François Theurel
With Laura Barlow
A staccato study of street level action and inter-action. People and vehicles on everyday journeys are atomised into coursing fragments of light, shadow, angle and inertia, reiterating and disassembling the creation of motion out of still frames at the heart of cinema. Filmed in ten cities on four continents.
When people look at my film I hope they think of it like a ride at the amusement park or see it the same way you might view fireworks or abstract painting. After seeing it I hope people are entertained, energized, have fun and feel like that they have had color thrown at them or paint splattered on them. This film is 100% hand made by me and Norman McLaren, Len Ley and Steve Woloshen were all great influences and inspiration for this work.
This video constitutes an experiment, testing digital toolsets for a potential capacity to generate conceptual statements.
It was conceived as an introduction/epigraph/teaser for my diploma thesis, exploring a question of how construction of space in the digital age can either liberate or rather succumb to propaganda? This work sees architecture as a mediator between the physical and the virtual, focusing on the human being as a transformation subject from “homo sapiens” or “ludens” towards a so-called “homo separatio”