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"Bent Time' is based on the scientific theory of space-time curvature, according to which a time axis must be curved according to the curvature of a light beam at the outermost end of the universe. A visual aisle through the USA along a central perspective that begins in a linear accelerator - or atomic shatterer - and touches places of power from the Pueblo Sun Calendar in Chaco Canyon, New Mexico, through the hilly landscapes of the Ohio Valley Moundbuilder to Golden Gate and Brooklyn Bridge. Inspired by this theory, I worked with an extreme 9mm wide-angle lens and on the principle of "one frame per 30 cm spatial distance" to clarify the concept of time curvature." (Barbara Hammer)
The high art of animated short stories - Piotr Dumałas Cartoons almost always manage without dialogue and still tell stories: about the wolf in man, about the "black cap", about fairy tale characters from space, about Franz Kafka's life or about Dostoevsky's "guilt and atonement". Pure nonsense and black humour in exciting poetics - an original variation on "Little Red Riding Hood".
The oldest briquette factory in Senftenberg, a Cottbus fashion show at TKC and a Nosferatu adaptation - the GDR amateur film was extremely diverse. The Filmmuseum Potsdam gives an insight into the project "Amateurfilm im Land Brandenburg". With the sketch about the thwarted theft of a portrait of Frederick the Great, Potsdam film amateurs reacted to the incipient "Prussian wave".
The diploma film of the dffb student Johann Feindt deals with the outsiders of society. For three weeks, the director shoots in the emergency room of the hospital Am Urban in Berlin-Kreuzberg, where he documents alcohol addicts, drug addicts and the elderly. A film to think about life and death. For three weeks the director shot his diploma film in the emergency department of the hospital at Urban in Berlin-Kreuzberg. One already suspects it: an eternal vicious circle of alcohol accidents, drugs and old age weakness. But the director, who studied medicine himself, takes a closer look: he stays and lets the stories unfold beneath the surface. He even follows some "regular customers" into the domestic environment. And the staff, how do they experience this Sisyphus work and what does they do with them? A film to think about life. And death. KF
Isabel and her mother fled from the Chilean military dictatorship of the GDR. Now Isabel sits day after day in the bare, cold staircase waiting for a sign of life from her father, who has disappeared in her home country. They only find a connection in the new, foreign country with their neighbor boy of the same age, Philipp. The film takes up the fate of Chilean refugees who had to flee their homeland after the fall of the Allende government in 1973. Many of them also came to the GDR at that time. There the word "solidarity" was officially capitalized, but in everyday life it was often difficult to deal with foreign cultures. The director addresses this contradiction in her film when she talks about twelve-year-old Isabel and her mother Rosita. Externally, the two are well received in East Berlin in the late 1970s. But what happens inside her seems to be only of interest to Isabel's peer Philipp. KDF
The oldest briquette factory in Senftenberg, a Cottbus fashion show at TKC and a Nosferatu adaptation - the GDR amateur film was extremely diverse. The Filmmuseum Potsdam gives an insight into the project "Amateurfilm im Land Brandenburg". An image film of the VEB Textil- und Konfektionskombinat Cottbus from the 1980s.
The film, based on Jurij Koch's play "Landvermesser", tells the story of a family whose house is to be dredged away in the Lausitzer Heide. There appears a man with a violin: Rublak. 31 years after its premiere, the film can now be seen in an uncensored and reconstructed version. The strangers who appear on the lonely farm and are welcomed hospitably are messengers of the approaching open-cast mine. In the film "Landvermesser" (land surveyor), made after Jurij Koch's play, Rublak walks through a village abandoned for coal. These scenes were banned in 1983 by the headquarters film. The cameraman and editor Lutz Körner had hidden the material in his private archive and was able to restore the original film in painstaking detail work. With technical support from the Film University Babelsberg "Konrad Wolf" a digital reconstruction was made possible.