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1-14 of 14
- The salient center of holiday, showing locations and people is increasingly accompanied by ambivalent texts from David Lynch, Slavoj Zizek or Martin Heidegger. The postcard views no longer say - i was here - but instead, the distance created by voyeurism asks - where i am? External images therefore turn into an internal perspective.
- A composition of a man and his instrument. Rhythmic, mechanical equivalents are generated by means of editing. The film is made up of six movements that show the relationship between the drummer and his instrument. They work upon each other, like a clockwork in a puppet-show.
- Driving through the mountains. The sounds of chords, beauty, art and death echo through the places and elements. The trip ends in the city of Venice which appears exhausted and deserted.
- In a few billion years the sun will go out. Time enough to start a plane, and fly in direction of the sun, and to crash into paradise. From the series of my video-diaries. I recorded a sunset, played with my fingers in front of the camera lens. Than I heard Arvo Pärt, who was speaking about angels. Slowly, soft and without any doubt he told: "This is no idea, this is reality, which is around us."
- Penetrating an interactive surface, we encounter the world of Gas Avalon, where completely different rules apply. Bullets serve as forms of locomotion; artistic genres depict a landscape of placelessness. Man and art transcend to vapor in a power station. As atoms of a soul that has the gift of reason, we return to reality.
- A short film about metropolitan boredom. Space is controlled by isolation and paranoia. Some guy (the Icelandic artist Sigtryggur Berg Sigmarsson) chases his demons and analyzes his environment with a misanthropic view. He directly speaks into the camera, sketching out a hopeless conception of the world: "I tell you people are no good, they are cheap. I hate people." No one is innocent; the whole world is on the list, even the fat guy next door. Carsten Aschmann brilliantly translates Sigmarsson's text into moving picture. He makes the leading character wander around in urban sediment (backed by the dark soundtrack of Stilluppsteypa and the Swedish BJ Nilsen) and captures his undifferentiated attacks on film. With dark sunglasses, unshaved, and dressed in a parka, on a feedlot outside the city. In search of cocaine and sex, in front of shop windows in the red light district. There is this unpleasant constraint, to constantly place something between himself and the environment. He finally finds relaxation in brutal union with a rubber-doll, resembling old Ed Gein in his hut.He said: i would prefer being a doll in this world; I think I'd be better off as a doll. All emotions and fears are switch off. The last goal is to switch off the torture of boredom.
- Drones appear in a military-industrial complex. Drones survey the world: a road from above, a town or city from above, the world from above. The dividing lines between civil and military deployment become blurred. The question arises concerning the cinematic-aesthetic added value. Is it to be found in the decoupling of camera and cameraman or in the unification of camera and flying object - simply the dream of flying? This is an ambivalent experience. How much of a human being is there in the drone?
- Landing approach to an island. The camera observes and traverses public space, on foot and in the air. Shots from the past and future intersect the vacation images. While filmmaker Aschmann speaks unadorned about his difficulty in finishing a film, we hear voice messages left by a colleague, eloquent and satirically pointed - on the subject of film and their ambitions. In a dune landscape, naked people stand and wait for their fortune.
- Jerzy Jurek, born 1929, worked for about 40 years in the polish forester's house. Melioration and planing new forest paths, were the main fields of his work. That for he had has to walk almost 20 km a day, for 6 months a year, for 40 years. "My Father the Forst" is a portrait of Jerzy Jurek, his work and his childhood during the Second World War. He experienced forced labor, the time which punch his whole life.
- The story of a man and a trumpet set in a sparsely furnished flat. Before commencing a short fanfare-like melody together, time for operative preparation and cleaning is needed.
- In its formal composition WATERSCOPE is in the tradition of a essay film. Forgoing economic, ecological or scientific explanations, it creates itself with the essence of water. Suffused with sounds from the history of cinema, we see waterways, locks, dams, wastewater treatment works, floodgates, fountains and waterfalls, none of which appear exclusive or spectacular. Seemingly abandoned and forgotten, they become the places where water encounters architecture and technology which, in turn, work for it, with it and against it. Aschmann locates this as the most intense dialog between humans and water.
- In its formal composition WATERSCOPE is in the tradition of a essay film. Forgoing economic, ecological or scientific explanations, it creates itself with the essence of water. Suffused with sounds from the history of cinema, we see waterways, locks, dams, wastewater treatment works, floodgates, fountains and waterfalls, none of which appear exclusive or spectacular. Seemingly abandoned and forgotten, they become the places where water encounters architecture and technology which, in turn, work for it, with it and against it. Aschmann locates this as the most intense dialog between humans and water.