The ‘Lichtung’ exhibition was a three-way project centered around an audio-visual installation. The American visual and sound artist Steve Roden and the Dutch sound artist and musician Rutger Zuydervelt provided the audio whilst the German visual artist Sabine Bürger provided the video element. Additionally each of the artists exhibited examples of their own work on paper addressing the interface between the audio and the visual. Continue reading
A Fine Day is, after the films Geschwister and Dealer, the third part in a trilogy about the living conditions of Turkish youth growing up in Germany.
Deniz is 21-years-old, lives in Berlin, works as a dubbing speaker and wants to become an actress. A Fine Day describes a long, labyrinth-like day in the life of Deniz. A day in which she experiences everything that takes place around her with a feverish intensity. The separation from her boyfriend Jan, her relationship to her family, her work, the promise of a new friendship and summer in the city.
A Fine Day is the story of a young woman’s search for happiness, her feelings and her ideas about love. Continue reading
Plot Summary (Taken from IMDb): A young drifter enters strangers’ houses – and lives – while owners are away. He spends a night or a day squatting in, repaying their unwitting hospitality by doing laundry or small repairs. His life changes when he runs into a beautiful woman in an affluent mansion who is ready to escape her unhappy, abusive marriage. Continue reading
New Hefei was done in the winter of 2007/2008 during a stay in China for several months through a series of photographs and prepared in the spring of 2008 in the provincial capital Hefei in black and white on 16mm shot. Hefei has an extreme economy growth rate and is one of the fastest-growing mega cities of the new China.
The conglomerates from private and state-dominated industry dominated the economic growth and repeated this in the Chinese provincial city. Currently the process of urban transformation has been completed here, as in other urban centers in China. The presentation of new urban areas is an important issue in contemporary Taiwanese and Chinese films.
Basically the whole thing was inspired by Antonionis “La Notte” and “L’eclisse”. So if you know these films, you’ll find something here. Continue reading
Investment banker HP has allegedly ridden out the crash of the stock exchange. One evening, on a barbecue event with his banker friends and their wives, HP’s Danish au pair girl threatens to blow the whistle on her love affair with HP’s married boss. HP wants to please everybody but what was set out to be a gathering amongst friends spins out of control into a night of blackmail and intrigue. The next morning, he has lost everything: his house, his wife, his friends, and his job… Continue reading
Uzak/Distant chronicles the numbing loneliness, longing, and isolation in the lives of two men who are consumed by their own problems. Istanbul photographer Mahmut reluctantly receives his relative Yusuf, but the mingling of their lives does little to alleviate their detachment.
Roger Ebert wrote:
How is it that the same movie can seem tedious on first viewing and absorbing on the second? Why doesn’t it grow even more tedious? In the case of “Distant,” which I first saw at Cannes in 2003, perhaps it helped that I knew what the story offered and what it did not offer, and was able to see it again without expecting what would not come. Continue reading
Finally, King expands his exploration of the aging process with Memory for Max, Claire, Ida, and Company, an intimate personal diary for eight patients suffering from dementia and memory loss at the Baycrest Geriatric Health Care System. Whereas Dying at Grace documented patients succumbing to the inevitable, Memory focuses on the terrifying doubts, palpable relationships, and relentless patterns of the individual patient and their fragile grip on reality. The titular trio makes up a close-knit group linked by emotional necessity, and Memory delves deep into the haunting alienation each feels when one unexpectedly dies, and the others have to relive the tragic news over and over again. The process is difficult to watch, but in a final coup de grace, King upends stereotypes about the sick and aged by never abandoning them no matter how difficult the situation, his camera a tracker of the small, delicate emotions cinema usually can’t recreate. Continue reading