F.W. Murnau – Der Letzte Mann AKA The Last Laugh (1924)

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Jannings’ character, the doorman for a famous hotel, is demoted to washroom (bathroom) attendant, as he is considered too old and infirm to be the image of the hotel. He tries to conceal his demotion from his friends and family, but to his shame, he is discovered. His friends, thinking he has lied to them all along about his prestigious job, taunt him mercilessly while his family rejects him out of shame. The man, shocked and in incredible grief, returns to the hotel to sleep in the bathroom where he works. The only person to be kind towards him is the night watchman, who covers him with his coat as he falls asleep. Continue reading

Hito Steyerl – Liquidity Inc. (2014)

Hito Steyerl is a Berlin-based artist and writer who’s new work, Liquidity Inc., is presented here. Liquidity Inc., which exhibited at the London Institute of Contemporary Art in April 2014, takes up liquidity as a concept in all of its physical, metaphorical, bodily, spiritual, meteorological and financial forms. In the main the film follows Jacob Wood a financial worker fired during the recent major economic crisis who now has a career in mixed martial arts. Continue reading

Oskar Fischinger – Twelve Short Films by Oskar Fischinger (1924 – 1942)

Oskar Fischinger (1900-1967) embodied the modernist ideal of the maladaptive artist so well that a balanced evaluation of his work as filmmaker and painter depends on one’s ability to withhold automatic beatification based solely on his biography. Born and educated in Germany, exiled to Los Angeles when Hitler came to power and abstraction was decreed a “degenerate art,” Fischinger was an uncompromising abstractionist who throughout his life retained a dogged faith in the transcendental potential of pure geometry and color. Persecuted in Germany and condemned to grinding poverty after he settled in L.A., Fischinger’s devotion to the integrity of his art was exemplary. Continue reading

Rolf Peter Kahl – Bedways (2010)

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Synopsis
oneliner
A huge, run-down apartment in Berlin Mitte. Two women and a man, rehearsals for a movie about love and sex, that will never be shot. Acting and reality mingle into a dangerous melange. Berlin is the shelter, love is impossible, flesh is the law.

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Director Nina Bader wants to shoot a film about love and sex and invites her actor-friends Hans and Marie for screen tests for a couple of days. For Nina love is not necessarily a matter of emotion – she is rather looking for an authentic depiction of sex. The intimate collaboration turns into experiments with film, love and bodies and finally has an impact on the private relationships between the three of them. It seems that the boundaries between acting and reality begin to disappear. Continue reading

Sergej Moya – Hotel Desire (2011)

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Quote:
Sergej Moya is a German actor, writer and director who had the idea for the movie. The 23-aged filmmaker appreciates erotic films which celebrate emotional relationships and depict explicit sexual actions as part of an interesting and demanding love story. So he created the ambitious project HOTEL DESIRE. In his film he wants to tell the story of a woman who is longing for more in her life than only the daily business. It’s an attempt to explore human aspiration for explicit sexuality and to present it as an intriguing story with erotical feelings and sensual pictures.

It’s said that women think about sex every 60 seconds on average during the day, men every 52 seconds,” he says. “However, I could not find any data on how many seconds, minutes or hours we think about murder and homicide every day. I want to make a film that does justice to sexuality as an expression of human joy of life. A film that confidently borrows from the porn genre, but that is not a porn film.” Continue reading

Jan Peters – Aber der Sinn des Lebens (1990 – 1996)

Aber den Sinn des Lebens hab’ ich immer noch nicht rausgefunden / … but I Still Haven’t Figured Out the Meaning of Life (OmeU)

Every year on his birthday, Jan Peters filmed one reel of Super-8 material; later on he turned to video. In these few minutes of film he reveals something from and about himself. Maybe it is exhibitionism – the way he chatters on, until the blotches on the film indicate the end of the reel. Enthusiastic, sometimes tired, often doubtful, he, like everyone else, quarrels with what has come about from his own actions. On top of this, Peters, the filmmaker, blurs the individual of the same name with his dense texts and images to create something quite different: Jan Peters, the fictional character. Continue reading